The connoisseur : an illustrated magazine for collectors

21 q

The Connoisseur

DEC 2 3 1965

AN ILLUSTRATED MAGAZINE
FOR COLLECTORS

CR-

EDITED BY

L. G. G. RAMSEY, f.s.a.

VOL. 159

(MAY— AUGUST 1965)

LONDON

Published by THE NATIONAL MAGAZINE CO. Ltd.

CHESTERGATE HOUSE, VAUXHALL BRIDGE ROAD, LONDON, S.W.i

1965

INDEX

ARTICLES AND NOTES

(Art.) denotes Article

ARTICLES AND NOTES

Articles and Notes — continual

Ackermann Gallery — see Hundred years of J. F. Herring, senior

Adams, Norman — see Bookcase and bureau-bookcase of nco-classic design

Aix-la-Chapellc — see Charlemagne at

Alecto, Editions — see Prints in the Modern Manner

Alwin Gallery, The, by Adrian Bury (Note) . . . . . . . . 257

American catalogue — to the Robert Sterling Clark collection, An outstand-

ing, by F. E. Stonor (Review) .. .. .. .. .. ..136

American company museum, English silver in an: 1, by Carl Christian

Dauterman (Art.) . . . . . . . . . . . . 206

Ditto — 2 (Art.) . . . . . . . . . . . . . . . . 274

'Americans, Sung and Unsung', by M-L. D'Otrangc Mastai (Note) .. .. 281

Annual exhibition of Bernard Buffet, The, by Gerald Schurr (Note) . . 45
Antique Dealers' Fair and Exhibition, Grosvcnor House, London, June 9-24,

Connoisseur Catalogue to the Silver Jubilee of the .. .. .. 103

Antwerp Museum — see Dutch Institute in Paris
Arizona, Museum of Northern — see Phoenix lends its art

Armour collecting, The 'seriousness' of Japanese, by Claude Blair (Art.) . . 21 8
Art in the Modern Manner, by Alastair Gordon (Notes) . . 48, 134, 186
Art Market, The, by David Coombs (Notes) . . 55, 130, 191, 267

Ashmolean Department of Eastern Art, Oxford, A few recent accessions to

the, by Peter C. Swann (Art.) . . . . . . . . . . . . 232

At the Villa Millbrook, by Clifford Musgrave, 1 (Art.) .. .. .. 70

Ditto — 2 (Art.) .. .. .. .. .. .. .. .. ..151

Ballot, Clementine, by Adrian Bury (Note) .. .. .. .. ..184

Barker of Bath, by Adrian Bury (Note) . . .. .. .. .. .. 256

Baroque bronzts in an English private collection, Florentine, by Hugh

Honour (Art.) . . . . . . . . . . . . . . . . 85

Bassano, II — see Impressive Religious Picture

Baycu Portrait for Wadsworth, by M-L. D'Otrange Mastai (Note) .. 144
Beardsley, Aubrey (Note) . . . . . . . . . . . . . . 190

Beau livre, Contemporary French (10). The lithographic illustrations of

Andre Minaux, by W.J. Strachan (Art.) . . . . . . 169

Beckmann, Max, at Hamburg, by Gerald Schurr (Note) .. .. 135

Belle Epoque and the Ferrers Gallery, by Alastair Gordon (Art.) .. .. 133

Berlin, Four masterpieces acquired by Staathche Museen (Notes) .. .. 174

Biggs, E. T., & Sons — see Cabinet from Weeks' Museum

Bird Watchers, by Adrian Bury (Note) . . . . . . . . . . [85

Blairman, H., & Sons — see Chinese Regency

Bond Street, Renoir's 'Venus Victorious' in, by Ronald Pickvance (Art.) . . 12s
Bonington, re-visited, by Ronald Pickvance (Art.) .. .. .. 176

Book Production Notes, by Ruari McLean . . . . . . 199, 265

Bookcase and bureau-bookcase of neo-classic design, A, by E. T. Joy (Art.) . . 109
Books Received . . . . . . . . . . . . 53, 199, 265

Books Reviewed . . . . . . . . . . . . 51, 197, 262

Bordeaux — see Works from the Russian Museums

Boultbee and Stubbs, by Adrian Bury (Note) . . . . . . 257

'Box' in a new London home, A unique silver, by Peter Winckworth (Art.) 19
Braque at the Louvre, by Gerald Schurr (Note) .. .. .. .. 258

Broadway Art Gallery, Worcestershire — see Joaquin Sorolla — a reappraisal
Bronzes in an English private collection, Florentine baroque, by Hugh

Honour (Art.) . . . . 85

Brook Street Gallery — see Art in the Modern Manner
Buffet, Bernard — sec Annual Exhibition of

Bullock, cabinet-maker, in Scotland, The work of George: 2, by Anthony

Coleridge (Art.) . . . . . . . . . . 13

Bulls, Goats, Gazelles (Note) .. .. .. .. .. .. .. 255

Burra, Edward, singular visionary, by Nevile Wallis (Art.) 40
Bury Art Galleries — see English Masters

Butinone to Chagall, From hy William Gaunt (Art.) .. .. .. .. 32

Cabinet from Weeks' Museum, A, by E. T.Joy (Art.) .. .. .. 117

Cabinet-maker, in Scotland, The work of George Bullock: 2, by Anthony

Coleridge (Art.) . . . . . . . . . . . . . . . . 13

Cafe Royal: 1865-1965 (Note) ...... .. 255

Caravaggio and Italian painting of the eighteenth century in Paris (Note) . . 42
Caravaggio at the Louvre, by Gerald Schurr (Note) . . . . . . . . 44

Caravaggio dominant (Note) . . . . . . . . . . . . . . 42

Catalogue — to the Robert Sterling Clark collection, An outstanding Ameri-
can, by F. E. Stonor (Review) .. .. .. .. ..136

Centenary of a Minor Master, by Denis Thomas (Art.)
Chagall, From Butinone to, by William Gaunt (Art.)

Chairs of the Georgian period, Some unrecorded Masonic Ceremonial, by

E.T.Joy (Art.)

Charlemagne at Aix-la-Chapellc, by Gerald Schurr (Note)
Chavignicr's Sculptures and Drawings, by Gerald Schurr (Note)
Chinese Regency and the provenance of four pagoda stands, by Helena

Hayward (Art.)
Churchyard, Thomas — see Centenary of a Minor Master
Ciborium, A newly discovered Limoges, by J. F. Hayward (Art.)
Clark collection, An outstanding American catalogue — to the Robert Sterl-
ing, by F. E. Stonor (Review)
Clark, Institute — see Great Prints at the
Clodion, From Riccio to (Art.)

Cocteau, Jean, discovers some Modiglianis, by Arthur S. Pfannstiel (Art.)
Colifichets — Embroideries on paper, by Margaret H. Swain (Art.)
Collections of Lady Hulton in Germany, The, by Gerald Schurr (Note)
Connoisseur Catalogue to the Silver Jubilee ot the Antique Dealers' Fair and

Exhibition, Grosvcnor House, London, June 9-24
Connoisseur in America, by M-L. D'Otrange Mastai (Notes) 64, 144, 212
Connoisseur's Diary (Notes) .. .. .. .. 42,131,190,255

Conservation of a peripatetic portrait bv |ohn Singleton Copley, The New

York, by Sheldon Keck (Art.)

Contemporary, The Cult of the (Editorial)

Contemporary French Beau Livre (10). The lithographic illustrations of

Andre Minaux, by W.J. Strachan (Art.)
Copley, The New York conservation of a peripatetic portrait by John

Singleton, by Sheldon Keck (Art.)
Correction — see Lasson Galleries
Cover: Lady Hamilton (Note)
Cover, Our — sec Monamy's Man-of-War
Cramer Galleries, The Hague — see Bird Watchers
Ditto — see Within the confines of the Delft Antique Fair
Crampton, Sean — see Alwin Gallery
Critics, Diderot, first of the art, by Gerhard Weber (Art.)
Crotch, Dr. William (1775-1847), member of the Oxford School and friend

of Constable, by Ian Fleming-Williams (Art.)
Crotch in Norwich, William (Note)
Cult of the Contemporary, The (Editorial)
Curwen Gallery — see Prints in the Modern Manner
Dame Laura Knight, by Adrian Bury (Note)

Daniell, William — see Dock for the protection of East India Company Ships

Dash, Robert, by M-L. D'Otrange Mastai (Note)

Date with Utrillo (Note)

Davenport service, A documentary (Art.)

Degas in English public collections, Drawings by; 3, by Ronald Pickvance

(Art.) .. "

Ditto — 4 (Art.) . . . .

Delft Antique Healers' Fair — see Diary date
Ditto — see Within the confines of the
Department of Errors (Note)
Diary dates: two Fairs (Note)

Diderot, first of the art critics, by Gerhard Weber (Art.)
Djam, A golden tower in the Hindu Kush: the Minaret of, by Georgina

Herrmann (Art.)
Dock for the protection of East India Company Ships (Note)
Documentary Davenport service, A (Art.)
Drawings — see Old Master

Drawings by Degas in English public collections, 3, by Ronald Pickvance

(Art.)

Ditto — 4 (Art.)

Drawings by Joan Eardley, R.S.A. (1921-1963). by Douglas Hall (Art.)
Drawings by Kyffm Williams, by Ralph Edwards (Art.)
Drawings by W.J. Mullcr (1812-1845). by Arnold Wilson (Art.)
Dutch — sec Nineteenth-century

Dutch Institute in Paris to Antwerp Museum, From the, by Gerald Schurr

(Note) 44

Eardley, R.S.A. (1921-1963), Drawings by Joan, by Douglas Hall (Art.) . . 178
East Indiaman at Sydney, by Adrian Bury (Note) . . . . . . . . 46

227
32

160
259
189

105

240

136

50
35
271

135

103

280

139
217

169

139

190

235

28
42
217

■33

U>
255
168

158

228

43
190
235

230
190
168

158
22S
178
98
250

INDEX

i

Articles and Notes — continued page

Eastern Art, Oxford, A few recent accessions to the Ashmolean Department

of, by Peter C. Swann (Art.) 232

El Paso Museum of Art — see Phoenix lends its art
Embnachi Casket in Priv ate Possession — see Rare

Embroideries on paper, Colifichets — by Margaret H. Swain (Art.) . . 271

Engineer, Soldier, Artist, by Adrian Bury (Note) . . . . 257

England. Part 1. The Holbein designs. The Mannerist Goldsmiths: 4, by

J. F. Hayward (Art.) 80

English Masters, by Adrian Bury (Note) .. .. .. .. ..185

English public collections, Drawings by Degas in: 3, by Ronald Pickvance

(Art.) 158

Ditto— 4 (Art.) •• 228

English silver in an American company museum: I, by Carl Christian

Dauterman (Art.) 206

Ditto— 2 (Art.) ..274

Even More Obscure, by Adrian Bury (Note) .. .. .. .. .. 185

Exhibition of Watercolours (Note) .. .. .. .. .. ..131

Exhibitions (May), by Gerald Schurr (Note) . . . . . . . . . . 45

Faenza, Giovanni Battista Utile de — sec Judgements of Paris
Fairs — see Diary dates

Falda and the decorative plan in three Italian gardens, Giovanni Battista, by

Diane K. McGuire (Art.) .. . . 59

Farrow, George, collection — see Florentine baroque bronzes in an English
private collection, by Hugh Honour

Fenosa's Lyricism, by Gerald Schurr (Note) .. .. .. .. ..135

Ferrers Gallery, Belle Epcquc and the, by Alastair Gordon (Art.) .. [33

Few recent accessions to the Ashmolean Department of Eastern Art, Oxford,

A, by Peter C. Swann (Art.) 232

Fine Art Society — see Exhit ition of Watercolours

Fisher, Sir George Bulteel — see Soldier-Artist

Florence Antiqu.- Dealers' Fair — see Diary dates

Florentine baroque bronzes in an English private collection, by Hugh

Honour (Art.) 85

Folger Coffee Company, Kansas City, Missouri — see English silver in an

American company museum
Foundations of 'Op' Art, The, by M-L. D'Otrange Mastai (Note) .. .. 215

Four exhibitions a month, by Gerald Schurr (Note) .. .. .. .. 135

Four masterpieces acquired by Staatliche Museen, Berlin (Note) .. .. 174

Fraser, Robert, Gallery — see Art in the Modern Manner

French Beau Livre, Contemporary (10). The lithographic illustrations ot

Andre Minaux, by W.J. Strachan (Art.) E09

French collections — see Phoenix lends its art

French Masters, by Adrian Bury (Note) . . . . . . . . . . 46

Fresh look at some Velasquez self-portraits, A, by Jose Gudiol (Art.) . . 165
Frigid Gallery, The (Editorial) . . . . . . . . . . . . . . I

From Butinone to Chagall, by William Gaunt (Art.) . . . . . . . . 32

From Riccio to Clodion (Art.) . . . . . . . . . . . . . . 50

Frost & Reed — see Boultbee an 1 Stubbs
Ditto — see Private Navy

Gallery, The Frigid (Editorial) I

Gardens, Giovanni liattista Falda and the decorative plan in three Italian, by

Diane K. McGuire (Art.) 59

(iatcvick, The Steyning, Sussex, home of Mr. and Mrs. David Yorke, by

Clifford Musgrave (Art.) 2

Germany — see Collections of Lady Hulton in

Gervis, Daniel — see Chavignier's Sculptures and Drawings

Giovanni Battista Falda and the decorative plan in three Italian gardens, by

Diane K. McGuire (Art.) . . 59

Glass, Maurice Marinot's, by Ada Polak (Art.) .. .. .. 21

Godd.'n of Worthing — see Documentary Davenport service

Golde.i tower in the Hindu Kush, A: the Minaret of Djam, by Georgina

Herrmann (Art.) . . . . . . . . . . . . 230

Goldsmiths, The Mannerist: 4. England. Part 1. The Holbein designs, by

J. F. Hayward (Art.) 80

Grabowski — see Art in the Modern Maimer

Great Prints at the Clark Institute, by M-L. D'Otrange Mastai (Note) . . 280
Grenoble honours Wostan (Note) .. .. .. .. .. .. 255

Grosvenor House, London, June 9-24, Connoisseur Catalogue to the Silver

Jubilee of the Antique Dealers' Fair and Exhibition .. .. .. 103

Guardi brothers in Venice, The, by Gerald Schurr (Note) .. .. .. 259

Gulb-nkian Foundation and Palacio (Note) .. .. .. .. .. 255

Half-century mark for Minneapolis, by M-L. D'Otrange Mastai (Note) . . 282

Hallsborough Gallery — see Cover: Lady Hamilton

Ditto — see From Butinone to Chagall

Ditto — see Light on Pieter de Hooch

Ditto — see Sale not on Loan

H iniburg — see Beckmann, Max

Hamilton Galleries — see Bulls, Goats, Gazelles

Hamilton, Lady — see Cover

Hanich: from the Classical to the Imagincry, by Henry Galy-Carles (Art.) . . 24
Harlow, Arts Festival, by Gerald Schurr (Note) . . . . . . 189

H.izhtt Galleries, The, by Adrian Bury (Note) . . . . . . . . 46

Hecke, Van, seascapes, by Gerald Schurr (Note) . . . . . . . . 45

Hepworth, Barbara — at the Rictveld Pavilion, Krollcr-Muller Museum, by

John FitzMaurice Mills (Art.) . . . . . . . . . . . . 242

Herring, senior, A hundred years of J. F., by Adrian Bury (Art.) .. .. 38

Articles and Notes — continued PAGE

Hindu Kush, A golden tower in the: the Minaret of Djam, by Georgina

Herrmann (Art.) . . . . . . . . . . . . . . . . 230

Hogarth's bicentenary, William, by Paul Hulton (Art.) . . . . . . 9

Holbein — see Harlow Arts Festival ^

Holbein designs, The. The Mannerist Goldsmiths: 4. England. Part I, by

J. F. Hayward (Art.) . . . . . . . . 80

Homer, Winslow, Ceramist, by M-L. D'Otrange Mastai (Note) . . . . 64

Hondecoeter, Melchior de — see Bird Watchers
Hooch, Pieter de — see Light on
Hornbrook, T.L. — see Private Navy
How (of Edinburgh) — see Swaythling Tankard
Huggins, William John — see East Indiaman at Sydney
Hulton in Germany — see Collections of Lady

Hundred years of J. F. Herring, senior, A, by Adrian Bury (Note) ... 38

'Imago' — see Harlow Arts Festival

Impressionists at the Kaplan, by Alastair Gordon (Art.) . . . . . . 39

Impressive Religious Picture, by Adrian Bury (Note) . . . . . . . . 256

In the Gall-Ties, by Adrian Bury (Notes) . . . . . . 46, 133, 184, 256

International Saleroom (Notes) . .* . . . . 56, 127, 192, 267

International Tapestries (Note) .. .. .. .. .. .. ..131

Iranian Art — see Bulls, Goats, Gazelles

Israel Museum at Jerusalem, The symbolism of the, by Pierre Cabannc (Art.) 244

Italian Baroque and Rococo exhibition — see Hazlitt Galleries

Italian gardens, Giovanni Battista Falda and the decorative plan in three, by

Diane K. McGuire (Art.) 59

Italian painting of the eighteenth century in Paris — sec Caravaggio and
Japanese armour collecting, The 'seriousness' of, by Claude Blair (Art.) 218
Jerusalem, The symbolism of the Israel Museum at, by Pierre Cabannc (Art.) 244
Jewels by Giovanni Battista Scolari, by Yvonne Hackenbroch (Art.) . . . . 200

Joaquin Sorolla — a reappraisal, by Max Wykes-Joycc (Art.) . . . . . . 183

Judgements of Paris, by Adrian Bury (Note) .. .. .. .. .. 18 5

July, To be seen in, by Gerald Schurr (Note) .. .. .. .. .. 189

Kaplan, Impressionists at the, by Alastair Gordon (Art.) .. .. .. 39

Knight — see Dame Laura

Koctscr, Brian, Galleries — see Several Nationalities

Kroller-Mullcr, Museum, Barbara Hepworth — at the Rietveld Pavilion, by

John FitzMaurice Mills (Art.) . . . . . . . . . . . . 242

Kuchenmeister Pans — Munich, by Gerald Schurr (Note) .. .. .. 45

Lamotte, Bernard, Shows in Palm Beach, by M-L. D'Otrange Mastai (Note) 213
Lasson Galleries, a correction, by Adrian Bury (Note) . . . . . . 47

Lee, Ronald A. — see London, In and around
Lefevre Gallery — see Burra, Edward, singular visionary
Leggatt Bros. — see Impressive Religious Picture
Ditto — see Monamy's Man-of-War
Lejeune, Philippe — see Strange World of

Light on Pieter de Hooch, by Adrian Bury (Note) .. .. .. ..184

Limoges cibormm, A newly discovered, by J. F. Hayward (Art.) .. .. 240

Lithographic illustrations of Andre Minaux, The. Contemporary French

Beau Livre (10), by W.J. Strachan (Art.) .. .. .. 169

Liverpool Punch Bowl? A, by Gerard Brett (Art.) .. .. .. 90

London, In and around (Note) .. .. .. .. .. ..131

Lord's Gallery — see Art in the Modern Manner

Louvre — see Braque at the

Ditto — see Caravaggio and Italian painting

Ditto — see Caravaggio at the

Lowndes Lodge Galleries — sec Norwich School

Lugt, Frits — see Dutch Institute in Paris

Mackintosh of Halifax, The late Viscount — see Norwich School
McRoberts and Tunnard — see Art in the Modern Manner
Madden Galleries — see Ballot, Clementine

Majolica from Winterthur, Swiss, by Robert L. Wyss (Art.) .. .. .. 222

Man-of-War — see Monamy's
Mann, Cyril —see Alwin Gallery

Mannerist Goldsmiths, The: 4. England. Part 1. The Holbein designs, by

J. F. Hayward (Art.) 80

Marchand, Andre: ten years' painting, by Gerald Schurr (Note) .. .. 135

Marinot's glass, Maurice, by Ada Polak (Art.) . . . . . . . . 21

Marlborough Gallery — see Prints in the Modern Manner

Masonic Ceremonial Chairs of the Georgian period, Some unrecorded, by

E. T.Joy (Art.) 160

Master, Centenary of a Minor, by Denis Thomas (Art.) . . . . . . 227

Masterpieces acquired by Staatliche Museen, Berlin, Four (Notes) .. 174

Masterpieces from Le Musee de l'Homme, by Gerald Schurr (Note) . . 135

Mellon Foundation, The (Note) . . . . . . . . . . . . 190

Millbrook, At the Villa, by Clifford Musgrave, I (Art.) .. .. .. 70

Ditto — 2 (Art.) 151

Minaret of Djam, A golden tower in the Hindu Kush: The, by Georgina

Herrmann (Art.) . . 230

Minaux, The lithographic illustrations of Andre. Cuntemporary French

Beau Livre (10), by W.J. Strachan (Art.) .. .. .. 169

Minneapolis Institute of Arts — see Half-century mark for
Mitchell, John — see Smith, George, and Wilson

Modiglianis, Jean Cocteau discovers some, by Arthur S. Pfannsticl (Art.) . . 35
Monamy's Man-of-War (Note) . . 43

Mullcr (1812-1845), Drawings by W.J., by Arnold Wilson (Art.) ..250
Munich, Stangl Gallery — see Kuchenmeister

iv

INhl X

Articles and Notes — continued PAGE

Murphy, Mr. and Mrs. Owen K. — see Rare Embriachi Casket
Musee de I'Ain, Brou — see Date with Utrillo
Musee de l'Hommc — see Masterpieces from

Must the National Gallery go on buying? by Gerald Reitlinger (Editorial) . . 69
National Gallery of Art, Washington, D.C. — see Two Notable Northern
Paintings

New Art Centre — see Art in the Modem Manner

New York conservation of a peripatetic portrait by John Singleton Copley,

The, by Sheldon Keck (Art.) 1 39

New York, Hallmark Gallery — see 'Topolski's Chronicles'

New York, Maynard Walker Gallery — see Homer, Winslow, Ceramist

New York, Osborne Gallery — see Dash, Robert

Newly discovered Limoges ciborium, A, by J. F. Hayward (Art.) .. .. 240
Newman Gallery — see Spring Idyll

Niemeyer at the Musee des Arts l)ecoratifs, by Gerald Schurr (Note) . . 188
Nineteenth-century Dutch, by Adrian Bury (Note) .. .. .. .. 257

Norwich — see Crotch in

Norwich School, by Adrian Bury (Note) . . . . . . . . . . 46

Nottingham, Castle Museum — see Bonington re-visited
Obelisk Gallery — see Art in the Modern Manner
O'Hana Gallery — see Art in the Modern Manner
Ditto — see French Masters

Old Master Drawings, by Adrian Bury (Note) 257

O'Nians, Hal, Gallery — see Old Master Drawings
'Op' Art — see Foundations of

Outstanding American catalogue— to the Robert Sterling Clark collection,

An, by F. E. Stonor (Review) .. .. .. .. ..136

Oxford, A few recent accessions to the Ashmolean Department of Eastern

Art, by Peter C. Swann (Art.) 232

Oxford School and friend of Constable, Dr. William Crotch (1775-1847),

member of the, by Ian Fleming-Williams (Art.) . . . . . . 28

Pagoda stands, Chinese Regency and the provenance of four, by Helena

Hayward (Art.) 105

Paine Art Center — see Wedgwood Catalogue

Paintings — see Two Notable Northern

Palm Beach Galleries, Palm Beach — see Lamotte, Bernard

Paradox, The Preservation (Editorial) .. .. .. .. .. .. 149

Paris — see Caravaggio and Italian painting

Ditto — see Dutch Institute in

Ditto — see Exhibitions (May)

Ditto — see Judgements of

Paris, Andre Schoeller — see Promise Fulfilled

Paris Dispatch, by Gerald Schurr (Notes) 44, 135, 188, 258

Paris, Galerie Bcno d'Incelli — see Chavignier's Sculptures and Drawings

Paris, Galerie Charpentier — see Some unknown Rouaults

Paris, Galerie David et Gamier — see Annual Exhibition of Bernard Buffet

Paris, Galerie des Art1 — see Strange World of Philippe Lejeune

Paris, Galerie Facchetti — see Four exhibitions a month

Paris, Galerie Jacques Dubourg — sec Fenosa's Lyricism

Paris, Galerie Jean-Claude Belhcr — see Marchand, Andre

Paris, Galerie Lacloche — see Kuchcnmcister

Paris, Galerie Synthase — see Hcckc, Van

Paris, Musee des Arts Decoratifs — see Niemeyer

Parker Gallery — see East Indiaman at Sydney

Ditto — see Rayner, Louise

Partridge, Frank & Sons — see Renoir's 'Venus Victorious' in Bond Street
Patterson and Shipman — see Nineteenth-century Dutch
Peel, David, Ltd. — see From Riccio to Clodion

Phoenix lends its art (Note) .. .. .. .. .. .. ..190

Piccadilly Gallery — see Art in the Modern Manner
Ponte, )acopo da — see Impressive Religious Picture

Port of London Authority — see Dock for the protection of East India Com-
pany Ships

Portrait by John Singleton Copley, The New York conservation of a peri-

patetic, by Sheldon Keck (Art.) 139

Portraits — at Sotheby's, Three (Note) .. .. .. .. .. .. 177

Preservation Paradox, The (Editorial) .. .. .. .. .. ..149

Prints at the Clark Institute — see Great

Prints in the Modern Manner, by Alastair Gordon (Note) . . . . . . 260

Private Navy, by Adrian Bury (Note) . . . . . . . . . . . . 47

Promise Fulfilled, by Gerald Schurr (Note) .. .. .. .. .. 189

Punch Bowl? A Liverpool, by Gerard Brett (Art.) .. .. .. .. 90

Rare Embriachi Casket in Private Possession, by M-L. D'Otrange Mastai

(Note) .. .. .. .. .. .. .. ..214

Rayner, Louise, by Adrian Bury (Note) . . .. .. .. .. 18 s

Recent examples of the work of Laurence Whistler, bv Andrew Graham

(Art.) ' 92

Redfern Gallery — see Art in the Modern Manner
Ditto — see Prints in the Modern Manner

Regency and the provenance of four pagoda stands, Chinese, by Helena

Hay ward (Art.) 105

Religious Picture — see Impressive

Renoir's 'Venus Victorious' in Bond Street, by Ronald Pickvance (Art.) 12s
Riccio to Clodion, From (Art.) . . . . . . . . . . . . . . 50

Rictveld Pavilion, Krollcr-Miiller Museum, Barbara Hepworth — at the, by

John FitzMaurice Mills (Art.) . . . . . . . . . . . . 242

Articles and Notes — continued page

Rodd, Saul — see Engineer, Soldier, Artist

Rouaults — see Some unknown

Rowan Gallery — see Art in the Modern Manner

Royal Academy, Diploma Gallery — see Dame Laura Knight

Russian Museums — see Works from the

Sale not on Loan, For (Note) .. .. .. .. .. .- ..190

Schweitzer Gallery, New York — see 'Americans, Sung and Unsung'

Scolari, Jewels by Giovanni Battista, by Yvonne Hackenbroch (Art.) .. 200

Scott, Samuel — see Mellon Foundation

Sculptures and Drawings — see Chavignier's

Seascapes — see Hecke, Van

Self-portraits, A fresh look at some Velasquez, by Jose Gudiol (Art.) . . . . 165

'Seriousness' of Japanese armour collecting, The, by Claude Blair (Art.) . . 218
Several Nationalities, by Adrian Bury (Note) . . . . . . . . . • 4f>

Sherwood, W.P. — see Even More Obscure
Siekierz, Szykier — see Spring Idyll

Silver 'Box' in a new London home, A unique, by Peter Winckworth (Art.) 19
Silver in an American company museum, English: I, by Carl Christian

Dauterman (Art.) . . . . . . . . . . . . 206

Ditto — 2. (Art.) 274

Smith, George, and Wilson, by Adrian Bury (Note) .. .. .. .. 133

Soldier-Artist, by Adrian Bury (Note) . . . . . . . . • . ■ ■ 47

Some unknown Rouaults, by Gerald Schurr (Note) .. ..44

Some unrecorded Masonic Ceremonial Chairs of the Georgian period, by

E.T.Joy (Art.) 160

Sorolla, Joaquin — a reappraisal, by Max Wykes-Joycc (Art.) . . . 183

Sotheby's and the Stoclet Collection (Notes) . . . . . . . • 54

Sotheby's this month, Selling at (Notes) .. .. .. .. ..126

Sotheby's, Three portraits — at (Note) .. .. .. .. .. ..177

Spmk & Son — see Soldier-Artist

Spring Idyll, by Adrian Bury (Note) . . . . . . . . . • • ■ 47

Staathche Museen, Berlin, Four masterpieces acquired by (Notes) .. 174
Sternberg, V. & C. — see International Tapestries

Steyning, Sussex, home of Mr. and Mrs. David Yorke. Gatewick. The, by

Clifford Musgrave (Art.) . . . . . . . . • • • • 2

Stoclet Collection, Sotheby's and the (Notes) . . . . . . . . • • 54

Strange World of Philippe Lejeune, The, by Gerald Schurr (Note) . . . . 189

Stubbs — see Boultbee and

Sutch &: Martin — see Barker of Bath

Swaythling Tankard, The (Note) .. .. ■■ ..131

Swiss majolica from Winterthur, by Robert L. Wyss (Art.) . . . . 222
Sydney — see East Indiaman at

Symbolism of the Israel Museum at Jerusalem, The, by Pierre Cabanne (Art.) 244
Synave, Tancrede, a Late Impressionist, by M-L. D'Otrange Mastai (Note) . 64
Tankard — see Swaythling
Tapestries — see International

Three portraits — at Sotheby's (Note) .. .. .. .. ..177

'Ting Yao and related white wares in the Percival David Foundation of
Chinese Art, Illustrated Catalogue of. Section 4', by Hin-Cheung
Lovell 199

'Topolski's Chronicles' by M-L. D'Otrange Mastai (Note) .. 145

Tucson Art Museum — see Phoenix lends its art

Two Notable Northern Paintings for the National Gallery, by M-L.

D'Otrange Mastai (Note) .. .. •• 212

Unique silver 'Box' in a new London home, A, by Peter Winckworth (Art.) 19
Upper Grosvenor Galleries — sec Engineer, Soldier, Artist
Utrillo — see Date with
Utter, Andre — see Date with Utrillo
Valadon, Suzanne — see Date with Utrillo

Velasquez self-portraits, A fresh look at some, by Jose Gudiol (Art.) .. 105
Venice, Palazzo Grassi — see Guardi brothers

'Venus Victorious' in Bond Street, Renoir's, by Ronald Pickvance (Art ) 125

Victoria & Albert Museum — see Bcardsley, Aubrey

Vigce-Le Brun — see Cover: Lady Hamilton

Wadsworth Athencum, Hartford, Conn.— see Baycu Portrait

Watercolours — sec Exhibition of

Wedgwood, Catalogue (Note) .. .. .. •• •• •• •■ 255

Weeks' Museum, A Cabinet from, by E. T.Joy (Art.) "7
Whistler, Recent examples of the work of Laurence, by Andrew Graham

(Art.) •• •• 92

Wildenstein Gallery — see Judgements of Paris

Williams, Drawings by Kyffin, by Ralph Edwards (Art.) 98

Wilson — see Smith, George, and
Wimperis, E. M. — see English Masters

Winterthur, Swiss majolica from, by Robert L. Wyss (Art.) 222

Within the confines of the Delft Antique Fair, by Gerald Schurr (Note) . . 189
Work of George Bullock, cabinet-maker, in Scotland, The: 2, by Anthony

Coleridge (Art.) . . . . . . . . • • • ■ ■ • • • *3

Works from the Russian Museums, at Bordeaux, by Gerald Schurr (Note) . . 258
Wostan — see Grenoble honours

Yorke. Gatewick. The Steyning, Sussex, home of Mr. and Mrs. David, by

Clifford Musgrave (Art.) ....
Zwcmmer Gallery — see Art in the Modern Manner
Ditto — see Prints in the Modern Manner

v

INDEX

Authors and Contributors PAGE

Baxter, A. D. Review 263

Beeson, C. F. C. Review 262

Blair, Claude. The 'seriousness' of Japanese armour collecting (Art.) . . . . 218

Brett, Gerard. A Liverpool Punch Bowl? (Art.) 9°

Bury, Adrian.

Hundred Years of J. F. Herring, senior, A (Art.) 38

In the Galleries (Notes) 4°. 133. 184. 256

Review . . . . . . . • . . • • • • ■ ■ • • • • 52

Cabanne, Pierre. The symbolism of the Israel Museum at Jerusalem (Art.) . . 244
Coleridge, Anthony. The work of George Bullock, cabinet-maker, in

Scotland: 2 (Art.) ' 13

Coombs, David

Art Market, The (Notes) 55,130,191,266

Review . . . . . . . . . . . . . . . • • • • • 52

Dauterman, Carl Christian.

English silver in an American company museum: I (Art.) .. .. 206

Ditto — 2 (Art.) 274

Edwards, Nicholas. Review . . . . . . . . . . . . 264

Edwards, Ralph.

Drawings by Kyrnn Williams (Art.) 98

Review 197

Fleming-Williams, Ian. Dr. William Crotch (1775-1847), member of the

Oxford School and friend of Constable (Art.) .. .. .. .. 28

Galy-Carles, Henry. Hanich : from the Classical to the Imaginery (Art.) . . 24

Gaunt, William. From Butinone to Chagall (Art.) . . . . . . . . 32

Gordon, Alastair.

Art in the Modern Manner (Notes) 48, 134, 186

Belle Epoquc and the Ferrers Gallery (Art.) .. .. .. ..133

Impressionists at the Kaplan (Art.) . . . . . . . . . . . . 39

Prints in the Modern Manner (Notes) . . . . . . 260

Graham, Andrew. Recent examples of the work of Laurence Whistler (Art.) 92

Gudiol, Jose. A fresh look at some Velasquez self-portraits (Art.) .. .. 165

Hackcnbroch, Yvonne. Jewels by Giovanni Battista Scolari (Art.) . . 200

Hall, Douglas. Drawings by Joan Eardley, R.S.A. (1921-1963) (Art.) . . 178
Hayward, Helena. Chinese Regency and the provenance of four pagoda

stands (Art.) . . 105

Hayward, J. F.

Mannerist Goldsmiths, The: 4. England. Part 1. The Holbein designs

(Art.) 80

Newly discovered Limoges ciborium, A (Art.) . . . . . . . . 240

Review . . . . . . . . . . . . . . . . . . . . 263

Herrmann, Georgina. A golden tower in the Hindu Kush: the Minaret of

Djam (Art.) . . . . 230

Hinfon, Dcnys. Reviews . . . . . . . . . . . . . . 52, 198

Honour, Hugh. Florentine baroque bronzes in an English private collection

(Art.) 85

Hughes, G. Bernard. Review . . . . . . . . . . . . . . 264

Hulton, Paul. William Hogarth's bicentenary (Art.) .. .. .. .. 9

Joy, E. T.

Bookcase and bureau-bookcase of neo-classic design, A (Art.) .. .. 109

Cabinet from Weeks' Museum, A (Art.) .. .. .. .. ..117

Some unrecorded Masonic Ceremonial Chairs of the Georgian period

(Art.) 160

Keck, Sheldon. The New York conservation of a peripatetic portrait by

John Singleton Copley (Art.) .. .. .. .. .. 139

Lees-Milne, James. Review .. .. .. .. .. .. .. 197

McGuire, Diane K. Giovanni Battista Falda and the decorative plan in three

Italian gardens (Art.) . . . . . . . . . . . . . . 59

McLean, Ruari. Book Production Notes .. .. .. .. 199, 265

Mastai, M-L. D'Otrange. Connoisseur in America (Notes) 64, 144, 212, 280
Mills, John FitzMaurice. Barbara Hepworth — at the Rietvcld Pavilion,

Kroller-MUller Museum (Art.) . . . . . . . . . . . . 242

Musgrave, Clifford.

At the Villa Millbrook — I (Art.) . . . . . . . . . . . . 70

Ditto — 2 (Art.) . . . 151

Gatewick. The Steyning, Sussex, home of Mr. and Mrs. David Yorkc

(Art.) 2

Nevinson, J. L. Review .. .. .. .. .. .. .. .. 51

Pfannstiel, Arthur S.Jean Coctcau discovers some Modiglianis (Art.) . . 35
Pickvance, Ronald.

Bonington, re-visited (Art.) .. .. .. .. .. .. ..176

Drawings by Degas in English public collections: 3 (Art.) . . . . . . 158

Ditto— 4 (Art.) 228

Renoir's 'Venus Victorious' in Bond Street (Art.) .. .. .. 125

Reviews . . . . . . . . . . . . 197, 264

Polak, Ada. Maurice Marinot's glass (Art). . . . . . . . . . . 21

Reid, William. Review . . . . . . . . . . . . . . . . 262

Reitlinger, Gerald.

Must the National Gallery go on buying? (Editorial) .. .. .. 69

Review . . . . . . . . . . . . . . . . . . 262

Schurr, Gerald. Paris Dispatch (Notes) . . . . . . . 44, 135, 188, 258

Stonor, F. E. An outstanding American catalogue — to the Robert Sterling

Clark Collection (Review) .. .. .. .. .. ..136

Strachan, W. J. Contemporary French Beau Livre (10). The lithographic

illustrations of Andre Minaux (Art.) .. .. .. .. .. 169

Swain, Margaret H. Colifichcts — Embroideries on paper (Art.) .. .. 271

Authors and Contributors — continued page !

Swann, Peter C. A few recent accessions to the Ashmolean Department of

Eastern Art, Oxford (Art.) . . . . . . 232

Thomas, Denis. Centenary of a Minor Master (Art.) . . . . . . . . 227

Wallis, Nevile ^

Edward Burra, singular visionary (Art.) . . . . . . . . . . 40

Reviews . . . . . . . . . . . . . . . . 52, 263

Weber, Gerhard. Diderot, first of the art critics (Art.) . . . . . . 235

Wilson, Arnold. Drawings by W.J. Muller (1812-1845) (Art.) ■■ ■• 250

Winckworth, Peter. A unique silver 'Box' in a new London home (Art.) . . 19

Wykes-Joyce, Max. Joaquin Sorolla — a reappraisal (Art.) .. .. .. 183

Wyss, Robert L. Swiss majolica from Winterthur (Art.) . . . . . . 222

Books Received or Reviewed

'Antiques Year Book, The International. 1965/66', edited by Philip Wilson 265

'Architecture. The Eternal Present: The Beginnings of ', by S. Giedion . . 53

'Architecture, The Great Ages of ', by Bodo Cichy .. .. .. .. 52

'Architecture One, World', Editor, John Donat .. .. .. .. 198

'Arp. Sculptures', by Michel Seuphor .. .. .. .. .. .. 53

'Art Collecting for Amateurs', by Richard Seddon . . . . . . . . 265

'Ascott Collection, Ascott, Buckinghamshire, The'. National Trust Guide

Book . . . . . . . . . . . . . . . . . . 265

'Bacon, Francis', by John Russell . . . . . . . . . . . . 53

'Barbizon School, The', by C. M. Kauffmann .. .. .. .. 199

'Berlin Painter, The', by Sir John Beazley, C.H. .. .. .. .. 199

'Blick aus dem Bilde, Der', by Alfred Neumeycr .. .. .. .. 53

'Bohemia and Moravia, 1300-1378, Gothic Mural Paintings in', by Vlasta

Dvofakova, Josef Krasa, Anezka Merhautova and Karel Stejskal . . 264

'Buddhism, The Art of. The Art of the World', by Dietrich Seckel .. 53

'Caligraphy and Printing in the Sixteenth Century', edited by Ray Nash . . 265

'Catalogue of B. Wemreb Ltd. Bridges' .. .. .. .. .. 199

'Catalogue of B. Weinreb Ltd. Furniture' .. .. .. .. 199

'Catalogue of gift of books by the late Mme Louis Solvay to the Royal

Library of Belgium, Part 2', edited by Franz Schauwers .. .. 265
'Children's Costume in England 1300-1900', by Phillis Cunnington and

Anne Buck . . . . . . . . . . . . . . . . 265

'Chivalry', by Leon Gautier. Revised and abridged. Edited by Jacques

Levron. Translated by D. C. Dunning . . . . . . . . . . 199

'Cole, The life and Works of Thomas', by Louis Legrand Nobk. Edited by

Elliot S. Vesell 53

'Constable's Correspondence, John. Vol. II' . . . . . . . . . . 197

'Costume in Italia, Storia del', by Rosita Levi-Pisetzky. Vol. I. .. .. 51

'Devils, Monsters and Nightmares. An Introduction to the Grotesque and

Fantastic in Art', by Howard Daniel . . . . . . . . 265

'Drawings from the Clark Institute. A Catalogue Raisonne of the Robert

Sterling Clark Collection of European and America'.. Drawings', by

Egbert Haverkamp-Begemann, Standish D. Lawder, and Charles W.

Talbot, Jr. .. .. .. .. .. .. .. .. .. 136

'Etruscan Bronze Utensils', by Sybille Haynes . . . . . . . . . . 265

'Faringdon Collection Buscot Park, The.' National Trust Guide Book . . 265

'Firearms, A History of Spanish', by James D. Lavin .. .. .. .. 263

'Flowers, Painting', by Joy Parsons .. .. .. .. .. .. 52

'Furnishing with Antiques, Home', by F. Gordon Roe . . . . . . 265

'Furniture. An explanatory history', by David Reeves. Revised edition . . 199

'Furniture in Hungary, French', by Hedvig Szabolcsi . . .. .. .. 53

'Gauguin: Volume I Catalogue', by Georges Wildenstcin .. .. .. 198

'Giacomctti. Sculptures', by Raoul-Jean Moulin .. .. .. ... 53

'Glass, Bohemian', text by L. Uresova . . . . . . . . . . . . 265

'Glass, English and Irish Antique', by Derek C. Davis . . . . 53, 264

'Greece, A Traveller's History of ', by A. R. Burn .. .. .. 265

'Greek Sculpture', by John Barron . . . . . . . . . . . . 265

'Guns and Rifles of the World', by H. L. Blackmore .. .. .. .. 262

'Horses in Japan', by Vivienne Kcnrick .. .. .. .. .. .. 265

'Houses, Castles and Gardens in Great Britain and Ireland, Historic. 1965

Edition', Foreword by Peter Wilson . . . . . . . . . . 265

'Islamic Architecture, and its Decoration', by Derek Hill and Oleg Grabar . . 197

'Jewellery, from Classical Lands', by Reynolds Higgins .. .. .. 265

'Jewels', by P. J. Fisher, F.G. A. .. .. .. .. .. .. .. 199

'Maillol, Aristide', by Waldemar George . . . . . . . . . . 264

'Majorca Observed", by Robert Graves and Paul Hogarth . . . . . . 265

'Manuscripts, Early Gothic Illuminated', by D. H. Turner .. .. .. 265

'Manuscripts, Persian Illustrated', by G. M. Meredith-Owens .. .. 265

'Maps and Globes, How to Identify old', by Raymond Lister . . . . 263

'Medieval Wooden Sculpture in Sweden. Volume V. The Museum Collec-
tion, Plates' „ . . . . . . . . . . . . . . 199

'Modem Art, The Search for Meaning in", by Alfred Ncumeyer. Foreword

by Sir Herbert Read . . . . . . . . . . . . . . 199

'Munch, Edvard. Masterpieces from the Artist's Collection in the Munch

Museum 111 Oslo', by Johan H. Langaard and Rcidar Rcvold . . 264

'Museum of Wales, National. Fifty-seventh Annual Report. 1963-64' . . 53
'Museums Journal. Volume 64. No. 4. Quarterly', Hon. Editor: Frank

Greenaway . . . . . . . . . . . . . . . . 265

'November Twenty Six Nineteen Hundred Sixty Three', by Wendell Berry 265

'Painting, A Concise History of English', by William Gaunt .. .. .. 52

'Painting, An Introduction to English', by John Rothcnstein .. .. 263

vi

INDEX

Books Received or Reviewed — continued page

'Painting, Nineteenth-Century', by Georges Pcillcx. Translated by Angus

Malcolme . . . . . . . . . . . . . . . . . . 199

'Penrose Annual', The. Volume 58, 1965', edited by Herbert Spencer . . 199

'Peru, The Desert Kingdoms of ', by Victor W. von Hagen .. .. .. 265

'Picasso, Life with', by Francoise Gilot and Carlton Lake . . . . . . 52

'Polesden Lacey'. National Trust Guide Book . . . . . . . . . . 265

'Rodin. Sculptures 1 840-1 886', by Cccilc Goldscheider .. .. .. 53

'Rodin. Sculptures 1886-1917', by Cecile Goldscheider . . . . . . 53

'Shadows in Arcady', by Sir William Russell Flint . . . . . . 199

'Silver through the Ages', by Gerald Taylor . . . . . . . . . . 53

'Stamp Design 1840-1965, Commonwealth', by James A. Mackay . . . . 265

'Trophy of Conquest', by Cecil Gould .. .. .. .. .. 262

ILLUS1

Architecture page

Attingham Park, Shropshire.

Exterior view . . . . . . . . . . 1 50

Brazilia, Palace of the Alvorada, the President's residence, architect Oscar
Niemeyer.

Exterior .. .. .. .. .. .. .. .. ..188

Djam, Afghanistan.

Minaret of (colour plate) . . . . . . . . . . ..231

Ditto — detail showing band of Kufic writing, black and white .. 230

Gatewick, Steyning, Sussex.

Exterior, in Edwardian days . . . . . . . . . . . . 2

Exterior, in 1953 . . . . . . . . . . . . . . . . 3

Exterior, in 1965 . . . . . . . . . . . . . . . . 3

Exterior, the Gateway . . . . . . . . . . . . . . 3

Interior, bedroom, principal . . . . . . . . . . . . . . 8

Interior, dining room (colour plate) . . . . . . . . . . 5

Interior, door leading from study into garden . . . . . . . . 7

Interior, drawing room (colour plate) . . . . . . . . . . 5

Interior, drawing room, showing Louis XVI secretaire . . . . . . 6

Interior, drawing room, showing Regency fireplace . . . . . . 6

Interior, dressing-room, Mr. Yorke's . . .. .. .. .. .. 8

Interior, entrance hall, 3 views . . . . . . . . . . 4

Interior, loggia or garden-room . . . . . . . . . . . . 8

Interior, study, Mr. Yorke's . . . . . . . . . . . . 7

Lrusalem, the Israel Museum

Exterior . . . . . . . . . . . . . . . . . . 245

Exterior, showing white dome of the Shrine of the Book which contains

the Dead Sea Scrolls . . . . . . . . . . . . . . 245

Millbrook, Villa, Jersey, C.I.

Exterior, south front . . . . . . . . . . . . . . . . 70

Interior, boudoir . . . . . . . . . . . . . . . . 76

Interior, dining room . . . . . . . . . . 72

Interior, dining room, looking out on garden . . . . . . . . 75

Interior, drawing room chimncypiece (colour plate) . . . . . . 73

Interior, drawing room, looking across gardens to sea (colour plate) . . 74

Interior, drawing room, showing paintings . . . . . . . . . . 76

Interior, drawing room, 2 views . . . . . . . . . . . . 77

Interior, entrance hall . . . . . . . . . . . . . . 71

Interior, Flemish room . . .. .. .. .. .. .. ..152

Interior, Flemish room (colour plate) . . . . . . . . . . . . 74

Interior. Flemish room, showing paintings .. .. .. .. 152

Interior, music room, fireplace recess (colour plate) .. .. .. 153

Interior, music room, looking towards gallery .. .. .. .. 151

Interior, music room, looking towards window-bay .. .. .. 152

Sutton Place, Guildford, Surrey

Interior, entrance ha 1 .. .. .. .. .. .. ..131

Arms and Armour page

Armour, embossed, Japanese, 'modern', russet iron cuirass signed Myochin

Ki no Muneaki and dated 1727 .. .. .. .. .. .. 220

Armour, great, modern reproduction of Japanese of the late Heian period

(late XII century) (colour plate) .. .. .. .. 221

Armour, Japanese, bearing badge of Naito Yukiyasu, a Christian samurai,

c. 1570 22c

Armour laced with dark blue silk, bearing badge of the Arima family in
gilded copper and shakudo, helmet signed Myochin Nobuiye, dated
1536, plates of sleeves and shin-guards are signed by Myochin Mune-
tomo, Japanese, presented to the 1st Duke of Edinburgh by the

Emperor Meiji on 22nd September, 1869 .. .. .. .. 219

Armour laced with dark blue silk with a central cross design of flame red,
iron parts lacquered black and gold and mounted 111 gilded copper,

Japanese, presented ti King James I in 161 3 by the Governor of Edo . . 219

Armour, russet iron cuirass of horizontal plates and dark green lacing,
Japanese, 'modern' type, helmet bears 3 deep musket-ball proof

marks and is dated 1663 .. .. .. .. .. .. .. 220

Figure illustrating the order of arming a samurai in the XIV century,

Japanese .. .. .. .. .. .. .. .. ..218

Pistol, D. B. wheel-lock, stamped maker's mark and bearing the initials

DH within a heart, Dresden, c. 1610 .. .. .. .. .. 129

Pistol, flintlock, duelling, one of pair, by Joseph Manton, signed, c. 1810 . . 193

Books Received or Reviewed — continued pace

'Type, American Wood' . . . . . . . . . . . . 265

'Type for Books', issued by Mackay's of Chatham .. .. .. 199

'Upton House. The Bearsted Collection: Pictures'. National Trust Guide

B<»>k . . . . . . . . . . . . . . . . . . 265

'Upton House. The Bearsted Collection: Porcelain'. National Trust Guide

Book . . . . . . . . . . . . . . . . 265

'Victoriana, Collecting', by Mary Peter. . .. .. .. .. .. 53

'Vikmg Coins of the Danelaw and of Dublin', by Michael Dolley .. 265
'Waddesdon Manor. The James A. de Rothschild Bequest to the National

Trust. A Guide to the House and its Contents', by Svend Eriksen . . 265

'Watches', by Cecil Clutton and George Daniels .. .. .. 262

'Wedgwood at the Paine Art Centre, Eighteenth-century' .. .. 255,26s

VTIONS

Artists, Engravers and Sculptors page

Arp, Jean. Torse Jerbe, bronze (sculpture) .. .. .. ..134

Barker of Bath, Thomas. Landscape .. .. .. .. .. .. 256

Bayeu, Francisco. Portrait of Don Pedro Arascot . . . . . . . . 144

Behan, Peter. Mad O'Casey Woman and Public . . . . . . . . 49

Berlewi, Henri. Cellule essentielle tridimensionelle de la Mckano-Faktur, 1963

(sculpture) .. .. .. .. .. .. .. 214

Bologna, Giovanni. Figure ot Mars gradivus, bronze (sculpture) .. .. 175

Bonington, R. P. Anne d'Autriche et Mazarin . . . . . . 176

Bonnard, Pierre. La Glace Haute . . . . . . . . . . . . 269

Boshier, Derek. Location, 1964 . . . . . . . . . . . . . . 48

Boucher, Francois. Nude, drawing . . . . . . . . 239

Boultbee, John. Hunters with a Groom and Hounds in a Parkland Setting . . 257

Brueghel, Pieter, the Elder. A Peasant Wedding . . . . . . . . 2C9

Burnc-Jones, Sir Edward. Portrait of his daughter Margaret .. .. .. 7

Burra, Edward

Mixed Flowers, watercolour . . . . . . . . . . . . . . 41

Straw Man, The, watercolour. . .. .. .. .. 41

Under the Hill, watercolour . . . . . . . . . . . . . . 40

Winter, watercolour . . . . . . . . . . . . . . . . 41

Cametti, Bernardino. Figure of Diana as Huntress, marble (sculpture) . . 175

Caravaggio. The Madonna with Pilgrims . . . . . . . . . . 45

Carpeaux, f-B. Bust of Charles Gamier, architect of the Paris Opera House,

terracotta (sculpture) . . . . . . . . . . . . . . 43

Cattaneo, Danese. Venus Marina, bronze (sculpture) . . . . . . . . 50

Cezanne, Paul. Les Baigneurs: Grande planche, 1898 (lithograph) .. .. 280

Chagall, Marc

Madone du Village, La, by Marc Chagall .. .. .. .. .. 195

Samson and Delilah, ink wash. . . . . . . . . . . . . . 246

Chardin, Jean-Bap tiste

Monkey painter, The . . . . . . . . . . . . . . . . 238

Musical Still Life, 1765 .. .. .. .. 238

Charpentier, Jean Baptiste. Boy in a red coat .. .. .. .. .. 79

Chavignier, Louis. Le Carnaval, bronze (sculpture) .. .. .. 189

Chen, 'Eccentric' Min. Ink painting . . . . . . . . . . . . 232

Cheret, Jules

'Aimons-Nous', drawing .. .. .. .. .. 137

Opera Ball 1892, gouache for poster . . . . . . . . . . 132

Churchill, Sir Winston

Canal Scene . . . . . . . . . . . . . . . . 196

Menaggio, Lake Como . . . . . . . . . . . . . . 268

Churchyard, Thomas

Figures on sand dunes, Suffolk coast . . . . . . 227

View of Woodbridgc across the River Deben, watercolour . . . . 227

Cleveley, J. The Royal Yachts Mary ami Royiil Charlotte . . 122

Clodion. Satyr with attendant amorini, terracotta plaque (sculpture) . . 50

Constable, John. Dedham Vale, from East Bergholt: sunset, pencil and

watercolour . . . . . . . . . . . . . • 29

Copley. John Singleton

Portrait of Mrs. Humphrey Devereux, before treatment April 1964

(colour plate) . . . . . . . . . • . . . . . . 138

Ditto — black and white .. .. •• . ■ •• 139

Ditto — different stages of restoration, 6 views (colour plate) . . 138

Ditto — black and white, 2 views .. .. .. .. ..140

Ditto — black and white, 3 views .. .. .. .. .. ..141

Ditto — black and white, 3 views .. .. .. .. .. ..142

Ditto — black and white, 1 view .. .. .. .. .. ..143

Watson and the Shark . . . . . . . . . . . . . . . . 66

Cortona, Pietro da. The Rape of the Sabines .. .. .. .. .. 85

Crome, John and Berney. View on the Bruges River .. .. .. .. 46

Crotch, William

John O Gaunts buildings Kenilworth Castle, soft pencil and watercolour. . 30

Mrs. Lawrence's Cottage, South Hill, near Maidenhead, pencil and

watercolour . . . . . . . . . . . . . . . . 31

My garden and field, Kensington Gravel Pits, watercolour. . .. 31

No. 44 The Clarendon Printing Office, Oxford, soft pencil and water-
colour . . . . . . . . . . - - . . • ■ • • 3°

North side of the church at Stanton St. John, near Oxford . . .. .. 31

Wethcrall Place Hampstead, from behind, pencil and watercolour . . 30
Dadd, Robert. Shipping on the Thames with Limehouse Church in the

background .. .. .. .. .. .. .• ..121

vii

Artists. Engravers and Sculptors — continued

Daniell, William. Brunswick Dock on the Thames at Blackwell (coloured

aquatint)
Dash. Robert. Vermont Studio
David, Gerard. The Adoration of the Magi
Degas, Edgar

Danseuse Saluant, drawing, pastel

Four Dancers, drawing, charcoal and pastel

Nude drying herself, charcoal

Nude drying herself, charcoal heightened with white on faded blue papei

Nude drying herself, charcoal on tracing paper

Repetition de Ballet . . . . . . 196,

Study of a nude, drawing, charcoal

Study of a nude girl, pencil drawing

Toilet, The, pencil and charcoal, with red chalk rubbings, on tracinj
paper

Donaldson, Anthony. Untitled '64
Dufy, Raoul. Cowes, 1929
Eardley, Joan

Glasgow Boy, A, drawing

Horse-collar and other harness, A, drawing

Old Italian woman sewing, An, drawing

Old woman seated, sewing, An, drawing

Two oxen drawing a water-cart, drawing
Epstein, Jacob. Bust of Chaim Weizmann (sculpture) . .
Ernst, Max. A PInterieur de la vue
Faenza, Utile de. Judgement of Paris
Falda, Giovanni Battista

Perspective view of the Farnese Gardens (print)

Perspective view of the Gardens of the Medici at Monte Pincio, detai

(print)

Plan view of the Farnese Gardens (print)

Plan view of the Gardens of the Medici at Monte Pincio (print)

Plan view of the Gardens of the Quirinale on Monte Cavallo (print)
Fantin-Latour, Henri. Mauves Blanches et Roses dans un vase
Fanngton, Joseph, R.A. The Mons Gate, Valenciennes, after the siege of 179;
Fisher, Sir George Bulteel. Durham, watercolour
Foggini, Giovanni Battista

Group of Boreas and Onthyia, bronze (sculpture)

Group of Pluto and Proserpine, bronze (sculpture)
Fornenburgh, Jan Baptist van. A vase of flowers
Gaudier-Brzeska. A Wolf, pen drawing
Gerard, Marguerite. The Letter

Gervex, Henri. Portrait of a girl in a black straw bonnci
Giaquinto, Corrado. Apotheosis of Spain
Gogh Vincent van. Les Dccharges
Greuze, Jean-Baptiste

Child with a dog, drawing

Paternal curse, The: The son's punishment
Guardi, Francesco and Gian Antonio, Decorative painting, one of 2 . .
Hanich

Absence de Pesanteur

Deux chaises, Les

Deux Gondoles a Venise, Les

Grand orchestre bleu, Le

Nature Morte aux Deux Violons, La . .

Nue debout

Troisieme Ocil, Le (colour plate)

Vertige, Le
Hepworth, Barbara

Work at the Rietveld Pavilion, Kriiller-Miillcr Museum (sculpture)

Ditto — 3 views (sculpture)
Herring, J. F., senior

Alarm, wild horses in a mountain landscape, The

Interior of a Stable with grey horse

Meet of the East Suffolk hounds at Chippenham Park, The
Hilliard, Nicholas. Portrait of a lady, miniature
Hogarth, William

Characters who frequented Button's Coffee-House, bru.;h and wash

Family Party, The

Harlot's Progress, A. Plate VI (etching)
Head of a Sleeping Child, black ehalk heightened with white
Illustration to the 'Five Days' Peregrination, pen and watercolours
Morning (engraving)

Portrait of Simon Frascr, Lord Lovat (etching)
Hogarth, William (r). Study for a Family Group, pen and wash
Holbein, Hans

Drawing of standing cup and cover of gold mounted with diamonds and
rubies, pen and wash

Drawing of standing cup and cover with 3 alternative versions of finial

Drawing of table fountain, bowl decorated with the device of Queen
Anne Boleyn, cover surmounted by a royal crown
Hondecoeter, Mclchior d'. Cock and chickens in a landscape . .
Hone, Nathaniel

Green Boy, The

Little Girl with Roses, A
Hooch, Picter de. An interior with gay company

INDEX

page Artists, Engravers and Sculptors — continued

190

145

270

158
159
229
228
229
267
159
158

229
48
126

182
179
181
180
181
244
134
185

60

59
61
62
63
34
57
47

85
85
33

255
78

132
47

192

239
239
147

27
25
26
26
25
25
24
27

242
243

38
38
38
128

TI

58
II
10
12
12
10
10

80

8l
I85

78
78
I84

Hoppner, John. Portrait of William, Youngest Son of Lord William
Russell

Huggins, W.J. East India Ship Mellish entering Sydney Harbour
Kalf, Willcm. Painting showing rock-crystal bowl designed by Hans Hol-
bein, detail
Kiyomasu. Kakemonc-e, Tan-e

Knight, Harold. Portrait of Dame Laura Knight at the age of
Kuchenmeister. Personnage

Lamotte, Bernard. Faubourg St. Honore — 14th July . .
Lejcunc, Philippe. Le Macon
Lipchitz, Jacques

Liseuse (sculpture)

Woman and Child (sculpture)
Loiseau, G. La riviere a St. Cyr de Vaudrcuil
Longhi, Pietro. The artist sketching an elegant company
Loo, L. M. Van. Portrait of Diderot
Luce, Maximilien. Bords de la Seine
Malchair, John

From Headington Hill Oxford, soft pencil and watercolour
Oxford August 1780 1 1 / Christ Church Meadow, pencil and wash
Marchand, Andre. Still Life

Marchand, David le. Portrait bust, one of pair of Sir Isaac Newton and John

Locke, ivory (sculpture)
Marmot, Maurice. Jeune femme et son enfant ..
Martin, Henri. Fille a la jupe rose

Martin, Kenneth. Oscillation, phosphor bronze (sculpture)
Master of 1 518. The Rest on the Flight into Egypt
Master of the Forties. Portrait of a Man, 1 541 ..

Master of the Life of the Virgin (German School, 2nd half XV century).

The Day ofjudgement
Master of St. Francis. Crucifix
Matisse. La danse autour des Capucines

Meng-fu, Chao, Yuan Dynasty. Painting in ink and colours on silk
Mercier, Philip. The Young Seamstress
Minaux, Andre

Double-spread from 'Le Petit Ami' (lithograph)

Ditto — (lithograph)

Illustration for Moderato Canabile', by Marguerite Duras, portraying

Anne Desbaresdes as a lover (lithograph)
Page from 'Le Petit Ami' (lithograph)
Ditto — (lithograph)
Page from 'Les Philippe' (lithograph)
Page from 'Trois Fabliaux du Moyen-Age' (lithograph)
Title page for 'Trois Avcugles de Compiegne' (lithograph)
Modigliani, Amadeo
Maries, Les

Portrait of Cocteau .. .. ..

Portrait de Morgan Russell

Portrait of Soutine (with Portrait of a young girl with plaits on reverse)
Portrait of a young girl with plaits (on reverse of Portrait of Soutine)

Tete rouge, La . .

Mommy, Peter. A calm with an English man-of-war saluting, detail
(colour plate) . . . . . . . . . . . . . . May

Moroni, Giovanni Battista. The Holv Family. .

Muller, W.J.

Bull Paunch Lane, Bristol, pencil
Eel Baskets on the Thames, sepia wash on buff paper
Looking across the Avon from below Rownham Ferry, pencil
Study of Trees, pencil ..

Paolozzi, Eduardo. Wittgenstein in New York (print)

Pao-shih, Fu. Landscape in ink and faint colour

Pare, Julio. Continuel-lumicre (sculpture)

Parry, William, R.A. Portrait of Sir Joseph Banks with Omai, a Tahitian
native who accompanied Captain Cook to England, and Dr. Daniel
Solander . . . . . . . . . . . .

Patimr, Joachim, of Antwerp. Virgin and Child in a Landscape

Peeters, Bonaventura. A River Scene in Winter

Piamontini, Giuseppe

Fall of the Titans, The, bronze relief (sculpture)

Ditto — detail

Fall of the Titans, The, marble relief (sculpture)
Massacre of the Innocents, The, bronze relief (sculpture)
Ditto — detail

Picasso, Pablo. Femme assise sur une Chaise

Piper, Francis Le. Reading the News, pen and wash

Pissarro, Camille. Landscape from Set. Thomas

Pittoni, Giovanni Battista, the Younger. The Sacrifice of Polyxena at th
grave of Achilles ..

Ponte, Jacopo da. The Almighty showing Moses the Promised Land

Pugin, A.C. View of Weeks' Museum (print)

Quercia, Jacopo della. Figure of the Virgin Mary, walnut (sculpture)
Ramsay, Alan. Portrait of Lord Auchinleck
Rembrandt

Isaac blessing Jacob, drawing, heightened in brown ink and white gouache
Moses with Tablets of the Law
Portrait of the artist's son, Titus

147
47

*3

194

133
45
213
189

127
246
39
34

235
39

29
28

135

192
21
39
186
268
189

33
129
259
194
122

171
172

173
171
1 73
170
169
170

36
35

194
37
37

193

cover
154

253
252
254
251
261

233
214

129
154
157

87
89
88
86
86

126
9

195

33
256
118

174
177

247
249
58

vm

INI M X

Artists, Engravers and Sculptors — continued PAGE

Renoir, Pierre Augustc

Danseuse au voile, La, one of group of 10 bronze casts recently made

from the plaster original (sculpture) . . . . . . . . . . 67

Femme a la Rose, La (colour plate) . . . . . . . . . . August cover

Lecture, La . . . . . . . . . . . . . . . . . . 128

Venus Victorious, cast numbered 'F' (sculpture) . . . . . . . . 125

Reynolds, Sir Joshua. Portrait ot James Bosvvell .. .. .. 177

Richards, Ceri. Trafalgar Square, II, lithograph-colour . . . . . . 260

Robert, Hubert

Landscape drawing . . . . . . . . . . . . . . 237

Ruins of a Roman Temple, The .. .. .. .. .. .. 192

Roberts, David. The Tower of London .. .. .. .. .. 196

Rogers, Miriam. The Owl, tumbled pietradura (sculpture) . . . . . . 282

Rombouts, Salamon. Pastoral scene with fisherman .. .. .. .. 104

Romney, George

Portrait of Joseph Sydney Yorke when a midshipman .. .. .. 6

Sketch, A: Portrait of Hayley as King Lear .. .. .. .. ..124

Rothenstein, Michael. Red & Dark Blue, black print — coloured . . . . 261

Rouault. Le Reveil d'Ubu . . . . . . . . . . . . 44

Rowell, Kenneth. Big Deity and Figure, 1963/4 .. .. .. .. 49

St. Aubin, Gabriel de. The Salon of 1753 at the Louvre . . . . . . 236

Sandby, Paul. A Wooded Path leading to a river, pen and brown ink and

watercolour . . . . . . . . . . . . . . . . 193

Sargent, John Singer. Coming down from Mt. Blanc . . . . . . 281

Scheppich, Johannes. Vulcan forging a Sword, parcel-gilt silver (sculpture) . . 50

Shaw, William. Arabian horse with Arab groom in a rocky landscape 1 1 1

Simcock, Jack. White House and Woman .. .. .. .. .. 187

lithium, Miguel. The Assumption of the Virgin .. .. .. .. 212

Smith, George, of Chichester. Landscape with three Smith brothers 133

Sorgh, Hendrik Martinson Rokes. Girl at the Virginals .. .. .. 71

Sorolla, Joaquin

Drawing in the sand .. .. .. .. .. .. .. ..183

Portrait of Manuel B. Cossio .. .. .. .. .. .. ..183

Steen, Jan. The writing lesson .. .. .. .. .. .. .. 45

Stubbs, George. Hunter in a Landscape . . . . . . . . . . 192

Synave, Tancrede. Logc de Figurantes . . . . . . . . . . . . 64

Thornton, Valerie. Eton College Chapel, etching and aquatint .. .. 261

Tiepolo, Domenico. Three Cavaliers, wash drawing . . . . . . . . 34

Topolski, Fehks. Allies Day Parade, London .. .. .146

Tour, Maurice Quentin de la. Portrait of an unknown man, charcoal and

pastel . . . . . . . . . . . . . . . . . . 237

Turner, J. M.W. The Grand Canal, Venice, from the Guidecca 127
Unknown

Gatewick, Steyning, Sussex, in the early nineteenth century . . 2

Gondola, page from Album of Julius Bayr, Nuremberg, 1579 (print) . . 202

Intaglio of Julia, Carolingian mounting (sculpture) . . . . . . 259

Pantaloon and Zanne, page from Album of Julius Bayr, Nuremberg,

1579 (P«nt) ..202

Portrait of Margaret Montgomery, wife of James Boswell .. .. 177

Print showing gondola and musicians, from 'Calate Fantastiche', by

Naspro Bizaro, published by Domenico Nicolino, Venice, 1565 (print) 201
Print showing gondola, from 'Vcre Imagine et descritioni dellc piii nobili

citta de mondo', by Pietro Bertelli (print) . . . . . . . . 201

Unknown: Chinese, XVIII century. Painting, one of pair, on mirror glass . . 103
Unknown: Chinese, Sarmation type, Han Dynasty. Applique, animal style
cast in form of a tiger and a bear devouring a deer, gilt-bronze

(sculpture) . . . . . . . . . . . . . . . . 54

Unknown: Chinese, Shang Dynasty. Carving of a bird, from An-yang,

bone (sculpture) . . . . . . . . . . . . . . 54

Jnknown: Congo Brazzaville, Bakongo. Statue, magic, wood, painted red

and white (sculpture) . . . . . . . . . . . . . . 135

Jnknown: Coptic, IV century. Isis Enthroned with the Infant Horus,

limestone (sculpture) . . . . . . . . . . . . 174

Jnknown: XVIII century. Pictures on mirror glass, pair, in XVIII century

carved wood and gilt frames .. .. .. .. .. ..115

Jnknown: French School, XV century. A Knight of the Golden Fleece . . 212
Jnknown: Gupta, V-VI century. Torso showing elaborate jewellery at the

neck, fragrant, red sandstone (sculpture) .. .. 122

Jnknown: Indian, Central, pcpbably. Figure of horse and rider, bronze

(sculpture) . . . . . . . . . . . . . . . . 234

Jnknown: Indian, Western, XVI-XVII century. Image of Virabbadra

(sculpture) . . . . . . . . . . . . . . 234

Jnknown: Italian, late XIV — early XV century, School of Embriachi.

Casket, ivory (sculpture) . . . . . . . . . . 213

Jnknown: Italian or Sicilian, c. 1260. 'For Ezra possessed great knowledge',

tempera and gold leaf on vellum in 'Conradin Bible' (miniature) . . 248
Jnknown: Mesopotamia, c. 2100 B.C. Head of Gudea, governor ofLagash,

diorite (sculpture) . . . . . . . . . . . . . . 247

Jnknown: Roman, I century A.D. Muse, A, replica of a Hellenistic original

(sculpture) . . . . . . . . . . . . . . . . 283

Jnknown: XVII century

Carving of Charles I, set in an antique frame (sculpture) .. .. .. 121

Portrait of Velasquez . . . . . . . . . . . . . . 166

/alkenborch, Lucas van. Village Festival .. .. .. .. ..120

Velasquez

Self portrait . . . . . . . . . . . . . . . . . . 167

Artists, Engravers and Sculptors — continued page

Ditto — Bic collection .. .. .. .. .. .. .. ..167

Ditto — detail of 'LasMeninas' .. .. .. .. .. .. 165

Ditto — detail from The Surrender of Breda .. .. .. .. ..166

Ditto — Valencia Museum of Fine Arts .. .. .. .. .. 167

Vigce-Lc Brun, Marie Louis Elisabeth. Portrait of Lady Hamilton as the

Persian Sibyl (colour plate) . . . . . . . . . . July cover

Walscappelle, Jacob van. Still-Life .. .. .. .. .. ..157

Watteau, Antoine. Le rctour du bal .. .. .. .. .. .. 258

Weight, Carel. Death of Lucrctia .. .. .. .. .. .. 186

Williams, Kyffin

Cader Idris, drawing . . . . . . . . . . . . . . 102

Chapel and Slate Tip, Bethesda, drawing . . . . . . . . . . 99

Snowdcn from Cesarea, drawing . . . . . . . . . . . . 100

Talsarn, drawing . . . . . . . . . . . . . . . . 101

Zielinski, Krystyn. M-21-64 (sculpture) .. .. .. .. .. 187

Zurbaran, Francisco. Still Life . . . . . . . . . . . . . . 32

Books, MSS and Inscriptions

Bayr, Julius, 'Album', Nuremberg, 1579:

Page showing gondola (print) . . . . . . . . . . . . 202

Pantaloon and Zanne (print) . . . . . . . . . . . . . . 202

Bertelli, Pietro, 'Vere Imagine et descritioni delle piii nobili citta de mondo',

Venice 1 572 : print showing Gondola .. .. .. .. .. 201

'Bible, Conradin', Italian or Sicilian, c. 1260: 'For Ezra possessed great

Knowledge', painting in tempera and gold leaf on vellum .. .. 248
Bizaro, Naspro, 'Calate Fantastiche', published by Domenico Nicolino,

Venice, 1 565 : print showing gondola and musicians (print) .. 201

Book of Hours of Charles the Bold, Duke of Burgundy (1433-77) and his

Wife, Margaret of York : page, from the Hours of the Virgin with

Calendar . . . . . . . . . . . . . . . . . . 270

'Catalogue of the Society of Artists of Great Britain, 1771' : Page 4 .. .. 143

Chippendale, Thomas, 'Director' (3rd ed. 1762) : Plate XI, Chair back . . 162
Cocteau, Jean, Letter to M. Ribas, mentioned the sketch Lcs Maries .. .. 36

Davenports & Co., original bill, dated 14th January 1840, for a Davenport

earthenware dinner service .. .. .. .. .. .. 168

Haverkamp-Begeman, Egbert, &c. 'Drawings from the Clark Institute':

'Aimons-Nous', by Jules Cheret, drawing .. .. .. ..137

Map of New Zealand, XlX century, showing location of Motueka where

Dr. Greenwood settled in 1843 .. .. .. .. .. ..143

'Saint Augustin Enarrationes in Psalmos', Latin manuscript, probably

southern origin, IX or X century . . . . . . . . . . 249

Weeks' Museum, Tichborne Street: subscription ticket, admitting 4 persons

for one guinea, issued in the 1780's .. .. .. .. ..118

Colour Plates

Armour, great, modern reproduction of, Japanese, of the late Heian Period

(late XII century) .. .. .. .. .. .. .. ..221

Bookcase, break-front, satinwood, circular purplcwood glazing bars linked

by rosettes, c. 1785 .. .. .. .. .. 108

Cabinet, blue green lacquer, mirror doors, one of original pair, English,

early XVIII century .. .. .. .. .. .. 114

Cabinet, veneered with mahogany and crossbanded with satinwood, from

Weeks' Museum, Regency style, 1 790-1 800 .. .. .. .. 119

Calm with an English man-of-war saluting, A, by Peter Monamy, detail May cover
Ciborium, Limoges enamel .. .. .. .. .. .. .. 241

Femme a la Rose, La, by Pierre Auguste Renoir . . . . August cover

Figures of Simon and Iphigenia, pottery, pair, Ralph Wood .. .. .. 113

Flacon, glass, smooth, flattened shape, inlaid bluish-mauve glass, by Maurice

Marinot . . . . . . . . . . . . . . . . . . 23

Gatewick, Steyning, Sussex. Interior, dining room . . . . . . . . 5

Gatewick, Steyning, Sussex. Interior, drawing room . . . . . . 5

Jewel case, silver-gilt, George III, engraved with cipher of Queen Charlotte,

by Thomas Heming, London, 1771 .. .. .. .. June cover

Millbrook, Villa, Jersey, C.I. Interior, drawing room chimneypiece . . . . 73

Millbrook, Villa, Jersey, C.I. Interior, drawing room, looking across gardens

to sea . . . . . . . . . . . . . . . . . . 74

Millbrook, Villa, Jersey, C.I. Interior, Flemish room . . . . . . . . 74

Millbrook, Villa, Jersey, C.I. Interior, music room, fireplace recess 1 53

Minaret of Djam, Afghanistan .. .. .. .. .. .. .. 231

Pagoda stands, Chinoiserie, set of 4 .. .. .. .. .. .. 107

Pendants, gondola, by Giovanni Battista Scolari, 2, in Palazzo Pitti, Florence 203
Plate, spiral border, painted with representation of Summer, majolica, Swiss,

3rd quarter XVII century . . . . . . . . . . . . 222

Portrait of Lady Hamilton as the Persian Sibyl, by Marie Louise Elisabeth

Vigcc-Lc Brun . . . . . . . . . . . . . . July cover

Portrait of Mrs. Humphrey Devereux, by John Singleton Copley, before

treatment April 1964 .. .. .. .. .. .. ..138

Ditto, different states of restoration, 6 views .. .. .. .. .. 138

Troisiemc Oeil, Le, by Hanich . . . . . . . . . . . . . . 24

Enamels

'Bronze Serpent, The', Mosan, champleve enamel, on gilded leather (c

1 1 so?) 249

Canister, one of pair, Bilston .. .. .. .. .. .. .. 120

IX

INDEX

Enamels — continued page

Ciborium, the Alpais, from the abbey of Montmajor in diocese of Aries,

Limoges enamel . . . . . . . . . . . . . . . . 240

Ciborium, Limoges enamel (colour plate) . . . . . . . . . . 241

Cornucopia, bands of enamelled silver strapwork, end terminating with

silver fox mask, Viennese. . .. .. .. .. .. .. 127

Plaque, champleve, representing Pentecost, Mosan, c. 1 160 .. .. .. 128

Writing set, travelling, Bilston enamel .. .. .. .. Ill

Engravings, Etchings and Prints

Baigneurs, Les: Grande planche, 1898, by Paul Cezanne (lithograph) . . 280
Brunswick Dock on the Thames at Blackwell, by William Darnell (coloured

aquatint) . . . . . . . . . . . . . . . . 190

Double-spread from 'Le Petit Ami", by Andre Minaux (lithograph) . . . . 171

Ditto . . . . . . . . . . . . . . . . . . 172

Eton College Chapel, by Valerie Thornton, etching and aquatint .. .. 261

Gondola, page from Album of Julius Bayr, Nuremberg, 1579 (print) . . 202

Harlot's Progress, A, by William Hogarth, Plate VI (etching) . . . . 11

Illustration for 'Moderato Cantabile', by Marguerite Duras, portraying Anne

Desbaresdes as a lover, by Andre Minaux (lithograph) . . .. .. 173

Morning, by William Hogarth (engraving) . . . . . . . . . . 12

Page from 'Le Petit Ami', by Andre Minaux (lithograph) . . . . 171

Ditto 173

Page from 'Les Philippe', by Andre Minaux (lithograph) .. 170

Page from 'Trois Fabliaux du Moyen-Age', by Andre Minaux (lithograph) 169
Pantaloon and Zanne, page from Album of Julius Bayr, Nuremberg, 1579

(print) . . . . . . . . . . . . . . . . . . 202

Perspective view of the Farnese Gardens, by Giovanni Battista Falda (print) . . 60
Perspective view of the Gardens of the Medici at Monte Pincio, by Giovanni

Battista Falda, detail (print) . . . . . . . . . . . . 59

Plan View of the Farnese Gardens, by Giovanni Battista Falda .. .. 61

Plan View of the Gardens of the Medici at Monte Pincio, by Giovanni

Battista Falda (print) . . . . . . . . . . . . . . 62

Plan View of the Gardens of the Quirinale on Monte Cavallo, by Giovanni

Battista Falda (print) . . . . . . . . . . 63

Portrait of Simon Fraser, Lord Lovat, by William Hogarth, etching . . 10
Print showing gondola and musicians, from 'Calate Fantastiche', by Naspro

Bizaro, published by Domenico Nicolino, Venice, 1565 (print) . . 201
Print showing gondola, from 'Verc Imagine et descriptioni delle piii nobili

citta de mondo', by Pictro BerteUi (print) . . . . . . . . 201

Red & Dark Blue, by Michael Rothenstcin, block print — coloured . . . . 261

Title page for 'Trois Aveuglcs de Compicgnc', by Andre Minaux (litho-
graph) • I7°

Trafalgar Square, II, by Ceri Richards, lithograph-colour . . . . . . 260

View of Weeks' Museum, by A. C. Pugin (print) .. .. 118

Wittgenstein in New York, by Eduardo Paolozzi (print) .. .. .. 261

Furniture

Ark of the Law, The, heavily ornamented baroque carved wood, from Venice

Synagogue, 1 701 .. .. .. .. .. .. .. .. 246

Armchair, carved and gilt, by Georges Jacob (part of a set), at Buckingham

Palace . . . . . . . . . . . . . . 163

Armchair, Louis XVI, carved, gilt and painted white, tapestry covering,

from Villa Millbrook . . . . . . . . . . . . . . 79

Armchair, mahogany, Masonic, St. Paul's Lodge, in the Hepplewhitc style . . 164

Armchair, open, mahogany, carved and shaped arms, cabriole legs, c. 1740 . . 123
Bookcase, break-front, satinwood, circular purplewood glazing bars linked

by rosettes, c. 1785 (colour plate) .. .. .. .. .. 108

Ditto — details, 2, black and white .. .. .. .. .. ..110

Bookcase, open, mahogany, ormolu Sphinx decoration, Regency .. .. 120

Bureau de dame, rosewood, signed /. C. Ellaume, J.M.E. (M.E., 1754) . . 129

Bureau, decorated lacquer, Chinoiseric, c. 1740 .. .. .. .. 122

Bureau, mahogany veneered marble top, Louis XVI, attributed to Riescner 193

Bureau plat, kingwood, ormolu mounts, early Louis XV .. .. .. 194

Bureau plat, veneered purplewood, gilt-bronze mounts, Rcgencc, c. 171 5 . . 1 1 1

Bureau-bookcase, mahogany, oval tulipwood glazing bars, c. 1785 .. .. 109

Ditto — detail .. .. .. .. .. .. .. .. ..110

Bureau-bookcase, painted satinwood, inlaid stringings, cylinder front decor-
ated with classical subjects after Angelica Kauffmann, Sheraton . . 116
Cabinet, blue green lacquer, mirror doors, one of original pair, English,

early XVIII century (colour plate) .. .. .. .. .. 114

Cabinet, inlaid with elaborate floral marquetry in ebony, ormolu mounts,
displayed at Great Exhibition of 1851, English cabinet-making,

French ormolu, Italian marquetry . . . . . . . . . . 7

Cabinet, library, mahogany, mid-XVIII century . . . . . . . . 56

Cabinet, rosewood, dwarf, one of pair, Regency .. .. .. .. 123

Cabinet, rosewood, in possession of Glaisher and Nash Ltd., London, attri-
buted to George Bullock .. .. .. .. .. .. 14

Ditto — detail, top .. .. .. .. .. .. .. .. 15

Cabinet, veneered with mahogany and crossbanded with satinwood, from

Weeks' Museum, Regency style, 1790-1800 (colour plate) .. .. 119

Chair, carved and gilt, Masonic, made in 1791 for the Earl of Moria (Acting

Grand Master, 1790-1813), decorated in the Louis XVI manner .. 163

Chair, mahogany, Masonic, in the classical taste, c. 1770 .. .. .. 162

Chair, mahogany, Masonic, Master's, design of the splat taken from Plate

XI of Chippendale's Director (1762), c. 1765 .. .. .. .. 161

Furniture — continued PAGE

Chair, mahogany, Masonic, Master's, Hepplewhite period, c. 1780 .. .. 162

Chair, mahogany, Masonic, Master's, in the rococo taste, c. 17C0 .. .. 161

Chair, mahogany, Masonic, Master's, reputed to have come from Chippen-
dale's workshop, c. 1760 .. .. .. .. .. .. . . «i6o

Chair, mahogany, Masonic, Senior Warden's, Hepplewhite period, c. 1780. . 162
Chair, Masonic, Lodge of Fortitude and Old Cumberland, inscribed in the

head with masonic emblems .. .. .. .. .. .. 164

Chair, Masonic, Windsor type, inscribed 'Old Concord Lodge of Instruc-
tion 201' .. .. .. .. .. .. .. .. .. 164

Chest, dressing, veneered with sabicu and satinwood, 2 drawers, one for

writing one for dressing, c. 1790 .. .. .. .. .. ..117

Chest, marriage, mahogany with giltwood carving, probably copies from an

Italian sarcophagus, English, George II period .. .. .. .. 115

Chest of drawers, enclosed, mahogany, marble top, by Stockholm master

Gottlieb Iwersson, 1799 . . . . . . . . . . . . . . 268

Commode, mahogany, marble top, Louis XVI, by M. Magnien .. .. 124

Commode, mahogany marquetry, neo-classical taste, c. 1770, from Villa

Millbrook.. .. .. .. .. .. .. .. 156

Commode, painted, Louis XV, by Joubert and the Martin brothers, made for

the bedroom of Madame Adelaide in the Palace of Versailles . . 195
Commode, veneered with kingwood and tulipwood, Louis XV, stamped

'Fleury' . . . . . . . . . . . . . . 57

Desk, kneehole, decorated in black and gold lacquer. Queen Anne period,

c. 1710 . . . . . . . . . . . . . . . . 121

Desk, writing, marquetry, Louis XV, marked F.G. and a trace of a stamp,

possibly B. V. R.B. .. .. .. .. .. .. .. .. 269

Ecritoirc, japanned tray carrying 3 celadon pots and gilt-bronze double

candlesticks, Louis XV . . . . . . . . . . . . . . 193

Mirror, carved and giltwood, one of pair, George II .. .. .. .. 122

Mirror, carved wood and gilt, in Chinese manner, Chippendale period . . 115

Mirror, giltwood, carved, Italian, XVIII century . . . . . . 121

Pagoda stands, Chinoiseric, set of 4 (colour plate) .. .. .. ..107

Ditto — detail, black and white . . . . . . . . . . . . . . 105

Ditto — ditto . . . . 106

Pictures on mirror glass, pair, XVIII century, in XVIII century carved wood

and gilt frames .. .. .. .. .. .. ..115

Secretaire, marquetry, marble top, ormolu mounts, Louis XV .. .. 128

Secretaire, upright, Louis XVI, inlaid with cube marquetry in manner ofJ.-B.

Tuart (maitre 1760) or I. B. Rebour (maitre 1767) .. .. .. 6

Settee, walnut, Queen Anne, c. 1705 .. .. .. .. .. ..103

Table, centre, mahogany, concave cupboard doors, <\ 1765 .. .. .. 122

Table a ccrire, acajou, gilt-bronze mounts, Louis XV, by Pierre Migeon II . . 56

Table, burr-elm, at Scone Palace, top .. .. .. .. .. .. 14

Table, centre-, marble-topped, gilt, French Empire, c. 1805, from Villa

Millbrook.. .. .. .. .. ..155

Table, dining-, 'Imperial', extending, from Dining-Room at Abbotsford,

which tradition holds was made from oak trees grewn at Drumlanrig

Castle, Dumfries-shire, detail . . . . . . . . . . . . 17

Table, lamp, pollard oak, at Abbotsford House, attributed to George Bullock 15
Table, library, octagonal, at Scone Palace, probably supplied by George

Bullock . . . . . . . . . . . . . . . . . . 13

Ditto — detail, top . . . . . . . . . . . . . . . . 14

Table, oak, late XVI century . . . . . . . . . . . . . . 57

Table, Pembroke, mahogany, Chippendale period .. .. .. .. Ill

Table, screen, diminutive size, Regency period. . .. .. .. .. 116

Table, sideboard, light oak, from Abbotsford House, which George Bullock's

firm probably made to design of William Atkinson .. .. .. 16

Table, tea, mahogany, incorporating a desk, Adam period . . . . . . 43

Table, tea, walnut, drawers and candle slides, late XVII century .. .. 104

Table, tray-, Queen Anne, carved and silvered, with separate silver tray,

from Villa Millbrook 78

Tabic, tripod, fretwork gallery, Chippendale period .. .. .. .. 103

Table, urn, Sheraton . . . . . . . . . . . . . . . . 124

Table, writing, kidney shaped, macassar ebony, ormolu mounts, Regency . . 66
Throne, carved and gilt. Masonic, Grand Master's, made in 1 791 for the

Prince of Wales (Grand Master, 1791-1813) .. .. .. .. 163

Torchere, ormolu, one of pair, Louis XIV .. .. .. .. 56

Wine-cooler, light oak, from Abbotsford House, which George Bullock's

firm probably made to design of William Atkinson .. .. .. 17

Glass

Bowl, champagne-coloured, inlaid foam of air bubbles, by Maurice Marinot 21
Bowl, clear glass with upper parts shading off to light olive colour, by

Maurice Marinot . . . . . . . . . . . . 22

Candlestick, base of lacquered brass with alternate columns of pale yellow

glass, one of pair, c. 1800 .. .. .. .. .. .. 104

Decanter, engraved >i/i BATTN. 60th REGT., Georgian, English, c. 1800 . . 116

Flacon, clear, crackled glass, square form, by Maurice Marinot . . . . 22

Flacon, large, with milky-white body encased in clear glass, by Maurice

Marinot . . . . . . . . . . . . . . . . 21

Flacon, smooth, flattened shape, inlaid bluish-mauve, glass, by Maurice

Marinot (colour plate) . . . . . . . . . . . . . . 23

Flask, tall, massive clear glass with inlaid air bubbles, by Maurice Marinot . . 22
Glass, engraved by Laurence Whistler with 'And Summer and Winter', 2

views . . . . . . . . . . . . . . . . . . 96

Glass, engraved by Laurence Whistler with 'Against the Day', 2 views . . 93

x

I

INDEX

Glass — continued PAGH

Glass, engraved by Laurence Whistler with Blagdon, Northumberland . . 92

Glass, engraved by Laurence Whistler with 'Driving Westwards' .. 97

Glass, engraved by Laurence Whistler with Longford Castle . . . . . . 95

Glass, engraved by Laurence Whistler with 'Mount Omega' . . .. 97

Glass, engraved by Laurence Whistler witli 'The Slanted Light' 94

Glass, engraved by Laurence Whistler with 'The Touch of Day' .. .. 95

Vase, massive, clear glass with red streaks and air bubbles enclosed, by

Maurice Marinot . . . . . . . . . . . . . . 23

Weight, encased pink overlay, St. Louis . . . . . . . . . . 56

Jade

Bowl, spinach green, 4 handles with loose rings, exterior carved in relief

with the 8 Buddhist Emblems, late XVI century .. .. 124

Jewellery

Bracelet, gold, royal, one of pair, by Rundell, Bridge and Rundell, detach-
able roses set with diamonds and crowned monograms of King
William IV and Queen Adelaide over bleu-de-roi enamelled fields,

presented to the King and Queen at their coronation .. .. .. 124

Pendant, Annunciation, by Giovanni Battista Scolari, in the Bavarian

National Museum, Munich . . . . . . . . . . . . 204

Pendant, by Giovanni Battista Scolari, at Schloss Rosenborg, Copenhagen. . 205

Pendant, female lute player, by Giovanni Battista Scolari, at the Rijks-

museum . . . . . . . . . . . . . . 204

Pendant, gondola, by Giovanni Battista Scolari, at Waddesdon Manor,

Buckinghamshire . . . . . . . . . . . . 201

Pendant, gondola, by Giovanni Battista Scolari, in Melvin Gutman Collec-
tion, New York . . . . . . . . . . . . . . 203

Pendant, gondola, lovers seated beneath a canopy, by Giovanni Battista

Scolari, in collection of Mr. and Mrs. Jack Linsky ot New York . . 200

Pendants, gondola, by Giovanni Battista Scolari, 2, in Palazzo Pitti, Florence

(colour plate) . . . . . . . . . . . . . . 203

Metalwork

Andiron, gilt-bronze, one of pair, Louis XV .. .. .. .. .. 129

Bell (Chung), bronze, from Wei Hui Chime, Chinese, late Chou Dynasty 54, 195
Candlestick, base of lacquered brass with alternate columns of pale yellow

glass, one of pair, c. 1800 .. .. .. .. .. .. 104

Kuang, bronze, Chinese, c. 1000 B.C. . . . . . . . . . . . . 67

Vessel, circular, bronze (Kuci), Chinese, Cliou Dynasty .. .. .. 270

Miniatures

'For Ezra possessed great knowledge', Italian or Sicilian, c. 1260, tempera and

gold leaf on vellum in 'Conradin Bible' . . . . . . . . . . 248

Portrait of a lady, by Nicholas Hilliard .. .. .. .. 128

Miscellaneous

Photograph of Armand Guillaumin acting as porter to Clementine Ballot . . 184
Mosaic

Icon, Byzantine, Constantinople, XIV century . . .. .. .. ..129

Paintings and Drawings

Absence de Pesanteur, by Hanich . . . . . . . . . . . . 27

Adoration of the Magi, The, by Gerard David .. .. .. 270

'Aimons Nous', by Jules Cheret, drawing .. .. .. .. .. 137

Alarm, wild horses in a mountain landscape, The, by J. F. Herring, senior . . 38

Allies Day Parade, London, by Fehks Topolski . . . . . . . . 146

Almighty showing Moses the Promised Land, The, by Jacopo da Ponte . . 256

Anne d'Autriche et Mazarin, by R. P. Bonington .. .. .. .. 176

Apotheosis of Spain, by Corrado Giaquinto .. .. .. .. .. 47

Arabian horse with Arab groom in a rocky landscape, by William Shaw . . in

Artist sketching an elegant company, The, by Pietro Longhi . . 34

Assumption of the Virgin, The, by Miguel Sithium . . . . . . . . ^12

Big Deity and Figure, 1963 '4, by Kenneth Rowell .. .. .. .. 49

Bords de la Seine, by Maximilicn Luce . . . . . . . . . . 39

Boy in a red coat, by Jean Baptiste Charpentier .. .. .. .. 79

Bull Paunch Lane, Bristol, b\ W.J. Muller, pencil .. .. .. .. 253

Cader Idris, by Kyffm Williams, drawing .. .. .. .. .. 102

Calm with an English man-of-war saluting, A, by Peter Monamy, detail

(colour plate) . . . . . . . . . . May cover

Canal Scene, by Sir Winston Churchill . . . . . . . . 196

Cellule essentielle tridimensionelle de la Mekano-Faktur, 1963, by Henri Bcrlcwi 214

Chapel and Slate Tip, Bcthcsda, by Kyffin Williams, drawing . . . . 99

Characters who frequented Button's Coffee-House, by William Hogarth,

brush and wash . . . . . . . . . . . . . . . . 11

Paintings and Drawings — continued page

Child with a dog, by Jcan-Baptistc Grcuzc drawing .. .. .. 239

Cock and chickens in a landscape, by Melchior d'Hondccoeter .. 185

Coming down from Mt. Blanc, by John Singer Sargent .. .. .. 281

Continuel-lumiere, by Julio Pare .. .. .. .. .. .. 214

Cowes, 1929, by Raoul Dufy .. .. .. .. .. .. .. 126

Crucifix, by the Master of St. Francis .. .. .. .. .. .. 129

Danse autour des Capucines, La, by Matisse . . . . . . . . . . 259

Danseuse Saluant, by Edgar Degas, drawing, pastel .. .. .. .. 158

Day of Judgement, The, by the Master of the Life of the Virgin (German

School, 2nd half XV century) .. .. .. .. .. .. 33

Death of Lucretia, by Carel Weight .. .. .. .. .. .. 186

Decharges, Les, by Vincent van Gogh .. .. .. .. .. ..192

Decorative painting, by Francesco and Gian Antonio Guardi, one of 2 147

Dedham Vale, from East Bergholt: sunset, by John Constable, pencil and

watercolour . . ■ . . . . . . . . . . . . . . 29

Deux chaises, Les, by Hanich .. .. .. .. .. .. 25

Deux gondolcs a Vcnise, Les, by Hanich . . . . . . . . 26

Drawing in the sand, by Joaquin Sorolla .. .. .. .. .. 183

Drawing of standing cup and cover of gold mounted with diamonds and

rubies, by Hans Holbein, pen and wash . . .. .. .. .. 81

Drawing of standing cup and cover with 3 alternative versions of finial, by

Hans Holbein . . . . . . . . . . . . . . . . 80

Drawing of table fountain, bowl decorated with the device of Queen Anne

Boleyn, cover surmounted by a royal crown, by Hans Holbein 81

Durham, by Sir George Bulteel Fisher .. .. .. ..47

East India Ship Melhsh entering Sydney Harbour, by W.J. Huggins . . 47

Eel Baskets on the Thames, by W. J. Muller, sepia wash on buff paper . . 252

Family Party, The, by William Hogarth . . . . . . . . . . 58

Faubourg St. Honore — 14th July, by Bernard Lamotte .. .. .. 213

Fem me a la Rose, La, by Pierre Auguste Renoir (colour plate) August cover

Femme assise sur une Chaise, by Pablo Picasso . . .. .. .. .. 126

Figures on sand dunes, Suffolk coast, by Thomas Churchyard . . . . 227

Fille a la jupe rose, by Henri Martin .. .. .. .. .. .. 39

Four Dancers, by Edgar Degas, drawing, charcoal and pastel . . .. .. 159

From Headington Hill Oxford, by John Malchair, soft pencil and water-
colour . . . . . . . . . . . . . . . . . . 29

Gatewick, Steyning, Sussex, in the early nineteenth century . . . . . . 2

Girl at the Virginals, by Hendrik Martinson Rokes Sorgh . . . . . . 71

Glace Haute, La, by Pierre Bonnard . . . . . . . . . . . . 269

Glasgow Boy, A, by Joan Eardley, drawing .. .. .. .. .. 182

Grand Canal, Venice, from the Guidecca, The, by J. M. W. Turner .. .. 127

Grand orchestre bleu, Le, by Hanich . . . . . . . . . . . . 26

Green Boy, The, by Nathaniel Hone . . . . . . . . . . . . 78

Head of a Sleeping Child, by William Hogarth, black chalk heightened

with white .. .. .. .. .. .. .. 10

Holy Family, The, by Giovanni Battista Moroni .. .. .. ..154

Horse-collar and other harness, A, by Joan Eardley, drawing . . . . . . 179

Hunter in a Landscape, by George Stubbs .. .. .. .. 192

Hunters with a Groom and Hounds in a Parkland Setting, by John Boultbee 257

Illustration to the 'Five Days' PcregrinaHon, by William Hogarth, pen and

watercolours . . . . . . . . . . . . . . . . 12

Ink painting, by 'Eccentric' Mm Chen . . . . . . . . . . . . 232

Interieur de la vue, A 1', by Max Ernst .. .. .. .. 134

Interior of a Stable with grey horse, by J. F. Herring, senior .. .. .. 38

Interior with gay company. An, by Pieter de Hooch .. .. .. ..184

Isaac blessing Jacob, by Rembrandt, drawing, heightened in brown ink and

white gouache . . . . . . . . . . . . . . 247

Jeune femme et son enfant, by Maurice Marinot .. .. .. .. 21

John O Gaunts buildings Kenilworth Castle, by William Crotch, soft pencil

and watercolour . . . . . . . . 30

Judgement of Paris, by Utile de Faenza . . .. .. .. .. .. 185

Kakemone-e, Tan-e, by Kiyomasu .. .. .. .. .. .. 194

Knight of the Golden Fleece, A, French School, XV century . . .. .. 212

Landscape, by Thomas Barker of Bath .. .. .. .. .. .. 256

Landscape drawing, by Hubert Robert .. .. .. .. .. .. 237

Landscape from Set. Thomas, by Camille Pissarro .. .. .. .. 195

Landscape in ink and faint colour, by Fu Pao-shih .. .. 233

Landscape with the three ? mith brothers, by George Smith of Chichester . . 133

Lecture, La, by P. A. Renoir . . . . . . . . . . . . 128

Letter, The, by Marguerite Gerard . . . . . . . . . . . . 78

Little Girl with Roses, A, by Nathaniel Hone . . . . . . . . . . 78

Location, 1964, by Derek Boshier .. .. .. .. .. 48

Loge de Figurantes, by Tancrede Synave . . . . . . . . . . 64

Looking across the Avon trom below Rownham Ferry, by Vv . J. Muller,

pencil . . . . . . . . . . . . . . . . 254

M-21-64, by Krystyn Zielinski .. .. .. .. 187

Macon, Le, by Philippe Lejeunc . . .. .. .. ..189

Mad O'Casey Woman and Public, by Peter Behan . . . . . . . . 49

Madone du Village, La, by Marc Chagall .. .. .. .. .. 195

Madonna with Pilgrims, The, by Caravaggio .. .. .. .. .. 45

Maries, Les, by Aniadeo Modigliani .. .. .. .. .. .. 35

Mauves Blanches et Roses dans un vase, by Henri Fantin-Latour . . . . 34

Meet of the East Suffolk hounds at Chippenham Park, The, by J. F. Herring,

senior . . . . . . . . . . . . . . 38

Menaggio, Lake Como, by Sir Winston Churchill . . . . . . . . 268

Mixed Flowers, by Edward Burra, watercolour . . . . . . 41

Monkey painter, The, by Jean-Baptiste Chardin .. .. .. .. 238

XI

INDEX

Paintings and Drawings — continued

page Paintings and Drawings — continued

Mons Gate, Valenciennes, after the siege of 1793, The, by Joseph Farington,

R.A 57

Moses with Tablets of the Law, by Rembrandt. . .. .. .. .. 249

Mrs. Lawrence's Cottage, South Hill, near Maidenhead, by William

Crotch, pencil and watercolour . . . . . . . . . . 31

Musical Still Life, 1765, by Jean-Baptiste Chardin .. .. .. .. 238

My garden and field, Kensington Gravel Pits, by William Crotch, water-
colour . . . . . . . . . . . . . . . . . . 31

Nature Morte aux Deux Violons, La, by Hanich . . . . . . . . 25

No. 44 The Clarendon Printing Office, Oxford, by William Crotch, soft

pencil and watercolour . . . . . . . . . . . . . . 30

North side of the church at Stanton St. John, near Oxford, by William

Crotch . . . . . . . . . . . . . . . . . . 31

Nude, by Francois Boucher, drawing . . . . . . . . . . . . 239

Nude drying herself, by Edgar Degas, charcoal . . . . . . . . 229

Nude drying herself, by Edgar Degas, charcoal heightened with white on

faded blue paper . . . . . . . . . . . . . . . . 228

Nude drying herself, by Edgar Degas, charcoal on tracing paper . . . . 229

Nue debout, by Hanich . . . . . . . . . . . . . . . . 25

Old Italian woman sewing. An, by Joan Eardlcy, drawing .. .. .. 181

Old woman seated, sewing, An, by Joan Eardley, drawing .. .. .. 180

Opera Ball 1892, by Jules Cheret, gouache for poster .. .. .. .. 132

Oxford August 1780 11 Christ Church Meadow, by John Malchair, pencil

and wash . . . . . . . . . . . . . . . . . . 28

Painting in ink and colours on silk, by Chao Meng-fu, Yiian Dynasty . . 194

Painting, one of pair, on mirror glass, Chinese, XVIII century .. .. 103

Painting showing rock-crystal bowl designed by Hans Holbein, by Willem

Kalf, detail 83

Pastoral scene with fisherman, by Salamon Rombouts . . . . . . . 104

Paternal curse, The: The son's punishment, by Jean-Baptiste Greuze . .. 239

Peasant Wedding, A, by Pieter Brueghel the Elder . . . . . . . . 269

Pcrsonnage, by Kuchenmeister . . . . . . . . . . . . . . 45

Pictures on mirror glass, pair, XVIII century, in XVIII century carved wood

and gilt frames .. .. /> .. .. .. .. 115

Portrait of the artist's son, Titus, by Rembrandt .. .. .. .. 58

Portrait of Cocteau, by Amadeo Modigliani .. .. .. .. 35

Pottrait of Dame Laura Knight at the age of sixteen, by Harold Knight . . 133

Portrait of Don Pedro Arascot, by Francisco Bayeu .. .. .. .. 144

Portrait of his daughter Margaret, by Sir Edward Burne-Jones .. .. 7

Portrait of Diderot, by L. M. Van Loo .. .. .. .. .. ..235

Portrait of a girl in a black straw bonnet, by Henri Cervex . . . . . . 132

Portrait ofjamcs Boswell, by Sir Joshua Reynolds .. .. .. .. 177

Portrait of Joseph Sydney Yorke when a midshipman, by George Romney . . 6
Pottrait of Lady Hamilton as the Persian Sibyl, by Marie Louise Elisabeth

Vigee-Le Brun (colour plate) . . . . . . . . July cover

Copley, before

Portrait of Lord Auchinleck, by Alan Ramsay
Portrait of a Man, 1 541 , by the Master of the Forties . .
Portrait of Manuel B. Cossio, byjoaquin Sorolla
Portrait of Margaret Montgomery, wife of James Boswell
Portrait dc Morgan Russell, by Amedeo Modigliani . .
Portrait of Mrs. Humphrey Devereux, by John Singleton

treatment April 1964 (colour plate)
Ditto — black and white

Ditto, different states of restoration, 6 views (colour plate)

Ditto — black and white, 2 views. .

Ditto — ditto, 3 views

Ditto — ditto, 3 views

Ditto — ditto, 1 view

Portrait of Sir Joseph Banks with Omai, a Tahitian native who accompanied
Captain Cook to England, and Dr. Daniel Solander, by William
Parry, R.A.

Portrait of Soutine, by Amedeo Modigliani (with Portrait of a young girl with
plaits on reverse)

Portrait of an unknown man, by Maurice Quentin de la Tour, charcoal and
pastel

Portrait of Velasquez, anonymous painter, XVII century

Portrait of William, Youngest Son of Lord William Russell, by John Hopp-
ner

Portrait of a young girl with plaits, by Amedeo Modigliani (on reverse of

Portrait of Soutine) . . f.
Rape ot the Sabincs, The, by Pietro da Cortona
Reading the News, by Francis Le Piper, pen and wash. .
Repetition de Ballet, by Edgar Degas
Rest on the Flight into Egypt, The, by the Master of 15 18
Retour du bal, Le, by Antoine Watteau. .
Rcvcil d'Ubu, Le, by Rouault
River Scene in Winter, A, by Bonaventura Peeters
Riviere a St. Cyr de Vaudreuil, La, by G. Loiseau
Royal Yachts Mary and Royal Charlotte, The, by J. Clcveley
Ruins of a Roman Temple, The, by Hubert Robert

Sacrifice of Polyxena at the grave of Achilles, The, by Giovanni Battista

Pittoni the Younger
Salon of 1753 at the Louvre, The, by Gabriel de St. Aubin
Samson and Delilah, by Marc Chagall, ink wash
Self portrait, by Velasquez
Self portrait, by Velasquez, Bic Collection

177
189

183
177
194

138
139
138
140
141
142
143

[29

37

237
166

147

37
85
9

196, 267
. . 268
.. 258
44

■ • 157
39
122
192

33
236
246
167
167

PAGE

Self portrait, by Velasquez, detail of 'La* Meninas' .. .. .. .. i6j \ ,\

Self portrait, by Velasquez, detail from The Surrender of Breda .. . . 166 j

Self portrait, by Velasquez, Valencia Museum of Fine Arts .. .. .. 167 ]

Shipping on the Thames with Limehouse Church in the background, by •

Robert Dadd . . . . . . . . . . 121 1

Sketch, A : Portrait of Hayley as King Lear, by George Romney .. .. 124

Snowden from Cesarea, by Kyffin Williams, drawing .. .. .. 100

Still Life, by Andre Marchand .. .. .. .. .. .. 135 1

Still Life, by Francisco Zurbaran. . .. .. .. .. .. .. 32 1

Still Life, by Jacob van Walscappelle .. .. .. .. .. 157 5

Straw Man, The, by Edward Burra, watercolour .. .. .. .. 41

Study for a Family Group, by William Hogarth (f), pen and wash .. .. 10

Study of a nude, by Edgar Degas, drawing, charcoal .. .. .. 159 J

Study of a nude girl, by Edgar Degas, pencil drawing . . .. .. .. 158 1

Study of Trees, by W.J. Muller, pencil .. .. .. .. .. 251

Talsarn, by Kyffin Williams, drawing .. ... .. .. .. .. 101

Tete rouge, La, by Amedeo Modigliani. . . . . . . . . . . . 193 j

Three Cavaliers, by Domenico Tiepolo, wash drawing . . . . . . 34

Toilet, The, by Edgar Degas, pencil and charcoal, with red chalk rubbings,

on tracing paper . . . . . . . . . . 229 I

Tower of London, The, by David Roberts . . . . . . . . . . 196 n

Troisicme Oeil, Le, by Hanich (colour plate) . . . . . . . . . . 24 I

Two oxen drawing a water-cart, by Joan Eardley, drawing .. .. .. 181

Under the Hill, by Edward Burra, watercolour .. .. .. .. 40

Untitled '64, by Anthony Donaldson . . . . . . . . . . . . 48

Vase of flowers. A, by Jan Baptist van Fornenburgh .. .. .. .. 33

Vermont Studio, by Robert Dash . . . . . . . . . . . . 145

Vertige, Le, by Hanich . . 2t9
View of Woodbridge across the River Dcben, by Thomas Churchyard,

watercolour . . 227 II

View on the Bruges River, by John and Berney Crome .. .. .. 46

Village Festival, by Lucas van Valkenborch .. .. .. .. .. 120

Virgin and Child in a Landscape, by Joachim Patinir of Antwerp .. 154 I

Watson and the Shark, by John Singleton Copley .. .. .. .. 66

Wetherall Place Hampstead, from behind, by William Crotch, pencil and

watercolour 30 I

White House and Woman, by Jack Simcock .. .. .. .. .. 187

Winter, by Edward Burra, watercolour . . . . . . . . . . 41

Wolf, A, by Gaudier-Brzeska, pen drawing . . . . . . . . 255

Wooded path leading to a river, A, by Paul Sandby, pen and brown ink and

watercolour 193 I

Writing lesson, The, by Jan Steen . . . . . . . . . . . . 45

Young Seamstress, The, by Philip Mcrcier . . . . . . . . . . 122

Pewter page

Charger, Charles II Restoration, engraved with Royal Arms and other
Stuart emblems, maker W.P. (probably William Pettivcr, London),

dated 1655, c. 1660 .. .. .. .. .. .. .. 270

Pottery and Porcelain

Alharello, majolica, Swiss, 2nd half XVII century .. .. .. .. 226

Bowl, decorated with a three master flying the blue ensign, with floral
sprays, famille rose enamels and 'bianco sopra bianco', Chinese,

Ch'ien Lung period, A. D. 1736-1795 .. .. .. .. .. 121

Bowl, faience, in form of a mitre decorated in blue, Schlesw.g or Copen-
hagen . . . . . . . . . . . . . . . . 128

Box, screw-top, portrait of George III painted in colour on lid, base carries

inscription George the Third. Spode & Copeland 181.} . . . . . . 112

Box-lid, creamware, with portrait in coloured relief of John Wilkes, Leeds,

c. 1770 . . . . . . . . . . . . . . . . 112

Clock, hard-paste Meissen, mounted in ormolu, marked with crossed

swords in underglazc blue, modelled by J.J. Kaendler, c. 1745 . . 215
Cottage, Rockingham, c. 1820 .. .. .. .. .. .. ..112

Dinner service, earthenware, printed in 3 colours, for 12 persons, Davenport,

1840 168

Dinner service, 102 pieces, part of, Worcester Flight, Barr & Barr .. .. 58

Dish, decorated in colour with exotic birds and English garden flowers,

Chelsea, gold anchor marked, c. 1756 .. .. .. .. .. 112

Ewer in form of a bull, turquoise blue glaze with traces of iridescence, early

Islamic, probably from Ravy, XII century A. D. .. .. .. 104

Figure of 'Gilles', Italian Comedy, modelled after Watteau, Strasbourg . . 126

Figure of kneeling boy, Tz'u-chou ware, Chinese, XIV-XV century . . 233
Figure of the Turk and his Companion, modelled by Tcbo, Worcester, Dr.

Wall period 128

Figures of Simon and Iphigenia, pair, Ralph Wood (colour plate) .. .. 113

Group of Chinaman and a bird, ormolu-mounted, bv Georg Fritzsche, early

Meissen . . . . . . . . . . . . . . 57

Group, Dutch Dancers, model attributed to Joseph Willems after an original

Meissen model by J. F. Eberlcin, Chelsea, f. 1755 .. .. .. 120

Group of Pantaloon and Columbine, modelled by J.J. Kaendler, Meissen . . 126
Group, rustic, boy plays a pipe, the girl a mandolin, and 12 sheep, Stafford-
shire, 1 820 .. .. .. .. .. .. .. 112

Group of Shepherdess and sheep, faience, Strasbourg .. .. .. .. 126

Jug, syrup, majolica, Swiss, 2nd half XVII century .. .. .. .. 226

xii

INDEX

l 'ottery and Porcelain — continual PAGE

Jgs, water, wine and cider, 5, painted in colours with garlands of flowers,

majolica, Swiss, XVII century . . . . . . . . . . . . 224

ags, wine and water, 2, decorated with dots in manganese-brown, majolica,

Swiss, XVII century . . . . . . . . . . . . . . 225

/lug, beer, decorated with dots in manganese-brown, majolica, Swiss,

I XVII century . . . . . . . . . . . . . . . . 225

; 4uy, transfer-printed, Worcester, First Period . . . . . . . . 58

'ill-box, lid in green glaze, majolica, Swiss, dated 16S6 .. .. .. 226

'late, decorated with dots in manganese-brown, majolica, Swiss, XVII

century . . . . . . . . . . . . . . . . . . 225

'late, dessert, made for Catherine the Great, trial specimen, unmarked

creamware, Wedgwood . . . . . . . . . . . . . . 42

•Kite painted in colours with emblems of friendship, majolica, Swiss, 2nd

quarter XVII century . . . . . . . . . . . . . . 224

'Luc painted in colours with landscape, open-work border, majolica, Swiss,

mid-XVII century .. .. .". .. .. .. 225

'late, spiral border, painted with representation of Summer, majolica,

Swiss, 3rd quarter XVII century (colour plate) . . . . . . 222

'late, with coat-of a. ms of Barbara Peyer of Schaff hausen, majolica, Swiss,

dated 1688 . . . . . . . . . . . . . . . . 226

' 'late, with 4 coats-of-arms of Zurich families, majolica, Swiss, dated 1662 . . 226

'unchbowl, pottery with tin glaze, English, Liverpool(r), c. 1767 90

Ditto — interior . . . . . . . . . . . . . . . . . . 91

itove, tower-, model of, with 2 side seats, used as a writing stand, majolica,

Swiss, 2nd half XVII century . . . . . . . . . . 223

itove, tower-, with side seat, by Hans Heinrich Graf, majolica, Swiss,

dated 1685 .. .. .. .. .. .. .. .. 223

Teapot, armorial, c. 1740-50 .. .. .. .. .. .. .. 146

Tiles, decorated by Winslow Homer, Dolphin . . . . . . . . . . 65

Tiles, decorated by Winslow Homer, Women on the Beach . . . . . . 65

v"ase and cover, creamware, green granite glaze, Wedgwood & Bentley

wafer mark . . . . . . . . . . . . . . . . 42

v'ase.Jomon type, clay, Japanese neolithic period, c. 500 B.C. . . 232

Vase, painted with flowers on yellow ground, Coalport .. .. 123

Vase, porcelain, one of pair, the Foundling and Chesterfield Vases, Chinese. . 43

Writing-stand in form of a fountain, majolica, Swiss, mid-XVII century . . 224

Relics

Armour laced with dark blue silk, bearing badge of the Arima family in
gilded copper and shakudo, helmet signed Myochin Nobuiye, dated
1 536, Japanese, presented to the 1st Duke of Edinburgh by the Em-
peror Meiji on 22nd September, 1869 .. .. .. .. .. 219

Armour laced with dark blue silk with a central cross design of flame red,
iron parts lacquered black and gold and mounted in gilded copper,

Japanese, presented to King James I in 1613 by the Governor of Edo . . 219

Bracelet, gold, royal, one of pair, by Rundcll, Bridge and Rundell, detach-
able roses set with diamonds and crowned monograms of King
William IV and Queen Adelaide over bleu-de-roi enamelled fields,

presented to the King and Queen at their coronation .. .. .. 124

Inkstand, silver, engraving executed by D. & J. Wellby, London, presented

by the British Government to the Government of Gambia .. .. 43

Sculpture and Carving

Applique, animal style, cast in form of a tiger and a bear devouring a deer,

Chinese, Sarmation type, Han Dynasty, gilt-bronze . . . . . . 54

Bust of Chaim Wei zmann, by Jacob Epstein .. .. .. .. .. 244

Bust of Charles Gamier, architect of the Paris Opera House, by J-B. Car-

peaux, terracotta . . . . . . . . . . . . . . . . 43

Carnaval, Le, by Louis CI" avignier, bronze .. .. .. .. ..189

Carving ot a bird, Chinese, Shang Dynasty, from An-yang, bone . . . . 54

Carving of Charles I, XVII century, set in an antique frame .. .. 121

Casket, Italian, late XIV — early XV century, school of Embriachi, ivory . . 213
Danse.use au voile, La, by P. A. Renoir, one of group of 10 bronze casts

recently made from the plaster original . . . . . . 67

Fall of the Titans, The, by Giuseppe Piamontini, bronze relief . . 87

Ditto — detail 89

Fall of the Titans, The, by Giuseppe Piamontini, marble relief . . 88

Figure of Diana as Huntress, by Bernardino Cametti .. .. 175

Figure ot horse and rider, probably from Central India, bronze . . . . 234

Figure of Mars gradivus, by Giovanni Bologna, bronze . . . . 17 s

Figure of the Virgin Mary, by Jacopo della Querela, walnut .. .. 174

Group of Boreas and Orithyia, by Giovanni Battista Foggini, bronze . . 85

Group of Pluto and Proserpine, by Giovanni Battista Foggini, bronze . . 85

Head ot Gudea, governor of Lagash, Mesopotamia, c. 2100 B.C., diorite . . 247

Image of Virabhadra, Western Indian, XV I-XVII century .. .. .. 234

Intaglio of Julia, Carolingian mounting . . .. .. .. .. 259

Isis Enthroned with the Infant Horus, Coptic, IV century, limestone. . . . 174

Liscuse, by Jacques Lipchitz .. .. .. .. 127

Massacre of the Innocents, The, by Giuseppe Piamontini, bronze relief . . 86

Ditto — detail 86

Muse, A, Roman I century A. D., replica of a Hellenistic original .. .. 283

Oscillation, by Kenneth Martin, phosphor bronze .. .. .. ..186

Owl, The, by Miriam Rogers, tumbled pietradura . . . . . . . . 282

Portrait bust, one of pair of Sir Isaac Newton and John Locke, by David le

Marchand, ivory .. .. .. .. .. .. .. ..192

Sculpture and Carving — continual page

Satyr with attendant amorini, by Clodion, terracotta plaque . . 50

Statue, magic, Congo Brazzaville, Bakongo, wood, painted red and white . . 135
Torso Jerbe, by Jean Arp, bronze

Torso showing elaborate jewellery at the neck, fragment, Gupta, V-VI cen-
tury, red sandstone .. .. .. .. .. .. ..122

Venus Marina, by Danesc Cattaneo, bronze . . . . . . 50

Venus Victorious, by P. A. Renoir, cast number 'F' .. .. .. .. 125

Vulcan forging a Sword, by Johannes Scheppich, parcel-gilt silver .. .. 50

Woman and Child, by Jacques Lipchitz. . .. .. .. .. .. 246

Work at the Rietveld Pavilion, Krollcr-Mullcr Museum, by Barbara Hep-
worth . . . . . . . . . . . . . . . . . . 242

Ditto — 3 views . . . . . . . . . . . . . . . . . . 243

Silver and Gold Plate

Andiron, small, one of pair, William III, Maker's mark P.R., almost certainly

for Philip Rollos c. 1695 .. .. .. .. .. .. 195

Box, gold, with black lacquer panels, Louis XVI, maker Adrien Jean Maxi-

mihen Vachette, Paris, 1789 .. .. .. .. .. ..116

Box, oval, gold, George III, by Samuel Godbehere, London, 1799 . . . . 120

Cake basket, by Samuel Courtauld, London, 1751 .. .. .. 278

Candelabrum, one of pair, by William Elliott, London, 18 19. . . . 276

Candlestick, one of pair, maker's mark a dove with olive branch, recently

identified as that of Jan Arentsz, The Hague, XVII century .. 196

Candlestick, one of set of 4, by William Cafe, London, 1767/71 .. .. 116

Candlestick, one of set of 4, early Louis XV, by Nicolas Nolin, Paris, 1724 . . 195

Caster, vase-shaped, George II, by Paul de Lamerie . . 57

Coffeejug, quadrilateral, by George Wickes, London, 1745 ■• •• •• 210
Coffee pot, beehive, Sheffield plate, by Roberts, Cadman & Co., Sheffield,

c. 1805 275

Coffee pot, Biggin, by Robert Salmon, London, 1796. . .. .. .. 211

Coffee pot, by Henry Herbert, London, 1736 .. .. .. .. 209

Coffee pot, by Hester Bateman, London. 1783 . . .. .. .. ..211

Coffee pot, by John Gibbons, London, 1706 .. .. .. .. .. 207

Coffee pot, by Paul de Lamerie, London, 1730 .. .. .. .. 208

Coffee pot, by Paul de Lamerie, London, 1738 . . . . 209

Coffee pot, by Thomas Whiph.im and Charles Wright, London, 1764 . . 211
Coffee pot, George I, maker's mark S. W. below a bishop's mitre (Samuel

Wastellf) in 3 places, London, 1721 .. .. .. .. .. 267

Coffee pot, lighthouse, by P. Aubin, Channel Islands, 1740-50 .. .. 210

Coffee pot, miniature, by Augustine Courtauld, London, c. 1726 .. .. 208

Coffee pot, octagonal, by John Folkingham, London, 171 1 .. .. .. 207

Coffee pot, Queen Anne period, by John Ruslen, 171 1 .. .. 104

Coffee pot, with tap, by William Charnelhousc, London, 1704 .. .. 207

Coffee service, coffee pot, by John Newton, 1722, covered sugar bowl, by

Thomas Mason, 1728, milk jug, possibly by Augustine Courtauld,

1720, all London .. .. .. .. .. .. .. .. 274

Coffee urn, dragon-head spouts, 3, by James Shruder, London, 1752. . . . 275

Coffee urn, Queen Anne, 3 spouts, by Thomas Boulton, Dublin, 1702 . . 275

Ecuelle, Canadian, by Pierre Huguet Latour, Montreal, c. 1775 .. 269

Epergne, attributed to Thomas Pitts, London, 1 76 1 .. .. .. .. 279

Figure of Vulcan forging a Sword, by Johannes Scheppich (1650-1701),

parcel-gilt silver .... . . 50

Goblet, silver gilt, one of pair, Jacobean, mark IV F in a shaped shield,

London, 1619 . . . . . . . . . . . . . . . . 67

Inkstand, engraving executed by D. & J. Wellby, London, presented by the

British Government to the Government of Gambia . . . . . . 43

Inkstand, globe form, fitted with bottles, pen, pencil and pad, maker John

Bobbins, 1799 .. .. .. .. 124

Jewel case, silver-gilt, George III, engraved with cipher of Queen Charlotte,

by Thomas Heming, London, 1 771 (colour plate) .. .. June cover

Pepper-pot, vase-shaped, gold, by Andrew Fogelberg, 1777 .. .. .. 128

Porringer, maker H. H, London, 1 6S4 .. .. .. .. .. ..116

Salver, one of pair, by Paul de Lamerie, London, 1748 .. .. .. 278

Salver, square, George II, by George Wickes, London, 1744 .. .. 103

Snuffer-tray, George II, by Paul de Lamerie . . . . . . . . . . 56

Sugar urn, neo-classical, by Richard Carter, Daniel Smith and Robert

Sharp, London, 1779 . . . . . . . . . . . . . . 276

Tankard, the Swaythling, silver-gilt, Mary Tudor, by Robert Taleboyes,

London, 1 556 . . . . . . . . . . . . . . 123

Tankard with cover, Queen Anne period, by John Elston, Exeter, 1705 121
Tazze, silver-gilt, 2. centres filled witli heraldic ornament, by Digby Scott

and Benjamin Smith, London, 1804 .. .. .. .. .. 277

Ditto — detail of centre .. .. .. .. .. .. .. 277

Tea and coffee machine, Sheffield plate, Sheffield, c. 1800-1 8 10 .. .. 276

Tea-kettle, stand, lamp and tray, George II, by Paul de Lamerie, 1736 and

1737 ..267

Tobacco Box, The Westminster, the original and its several cases .. .. 18

Ditto — case, second oval, 1783-1790 .. .. .. ..20

Ditto — circular casket, 1 809-1 826 .. .. .. .. .. .. 20

Ditto — horn box and stopper, the original, 1713-1747. . . . . . . . 20

Ditto — octagon case, 1791-1808 .. .. .. .. ..19

Tumbler-cup, George III, maker's mark IS, mullet above, cinquefoil below,

1765 ■ ■ ■ ■ 58

Tureen, soup, George II, one of pair, by Paul de Lamerie .. .. .. 270

Wax jack, maker W. Cafe, London, 1769 .. .. .. .. .. 123

xni

INDEX

Silver and Gold Plate — continued page

Wine cistern, Belgian, Brussels, c. 1690 . . . . . . . . . . . . 267

Wine fountain, rich strapwork and gadroons, engraved arms of Archibald,

1st Earl of Roseberry, by Thomas Farrer, London, 1720 .. .. 278

Textiles: Miscellaneous

Velvet, red on gold ground, detail from, Gothic, 1475 .. .. .. 120

Textiles: Needlework

Coif, embroidered, English, c. 1 560 .. .. .. .. .. 1 1 1

Embroidery, double-sided, flowers in a vase, coloured silks on paper . . 271

Embroidery, double-sided, flowers in a vase, coloured silks on paper. . . . 273

Embroidery, double-sided, Monstrance and Host, silks on paper with metal

thread . . . . . . . . . . . . . . . . 272

Page from a book, embroidered in silks on parchment, illustrating the

Immaculate Conception, Spanish, c. 1660 .. .. .. .. 272

Timepieces

Clock, dial signed by Dubuisson, movement by Drouot, Paris, French, late

XVIII century .. .. .. .. .. .. .. 111

Clock, hard-paste Meissen, mounted in ormolu, marked with crossed

swords in undcrglaze blue, modelled by J. J. Kaendler, c. 1745 . . 215

Clock, long-case, by Joseph Knibb, ohvewood-case .. .. .. 131

Clock, ormolu, Louis XV, by Jacques Panier, Paris, porcelain figures by

Kaendler 123

Timepieces — continued pagp

Clock, serpent and egg rotary, wrought gold, rose and white enamel, set

with diamonds, by Carl Faberge, dated 1902 .. .. .. .. 26£

Clock, table, automaton, in form of lion, case and figures of gilt-copper,

possibly Dresden, c. 1600 .. .. .. .. . ^ 191

Works of Art

Bell (Chung), bronze, from Wei Hui Chime, Chinese, late Chou Dynasty 54, 195
Belt-hook, gilt-bronze and turquoise, Chinese, from Chin-ts'un, Warring

States 54I
Bonbonniere, green nephrite mounted in two-colour gold and diamonds,
with portrait of Czar Nicolas II, Faberge, workmaster Henrik Wik-
strom ... . . 196I

Bowl, rock-crystal, enamelled gold mounts set with precious stones, de-
signed by Hans Holbein and made for Henry VIII c. 1540 .. .. 82 '

Ditto — detail of cover .. .. .. .. .. 83I

Ditto — detail of lower side of handle . . . . . . . . . . . . 84^

Box, gold, with black lacquer panels, Louis XVI, maker Adrien Jean Maxi-

milien Vachette, Paris, 1789 .. .. .. .. .. 1161

Box, oval, gold, George III, by Samuel Godbehere, London, 1799 .. .. i2o(

Candelabrum, Derbyshire spa, ormolu mounted in manner of Matthew

Boulton, one of pair, c. 1800 .. .. .. .. .. .. I04f

Chessman, ivory, Romanesque, end of XII century .. .. .. .. 127I

Figure of elephant, carved lacquer, cinnabar red, Chinese, Ch'ien Lung

(A.D. 1736-1795) i°3

Inro, by Kwansai, depicting the signs of the Zodiac, from set of 12 .. .. 1271
Vase, brush, lacquer (Pi Tung), Chinese . . . . . . . . . . 43

\1Y

PRINTED IN ENGLAND BY
TILLOTSONS (BOLTON) LTD
BOLTON AND LONDON

e Connoisseur

Z 16

MAY 1965

TEN SHILLINGS
TWO DOLLARS U.S.A.

CHRISTIE'S

will offer at auction on FRIDAY, MAY 28th

IMPORTANT PAINTINGS BY OLD MASTERS FROM
THE NORTHWICK PARK COLLECTION

the property of the late Captain E. G. Spencer-Churchill, M.C.

The Adoration of the Magi by Gerard David - on panel - 261 in. by 28-j in.
Illustrated catalogue (66 plates including 5 in colour) £2 post free. Plain catalogues 6d. post free.

Our' Representative in America:
ROBERT M. LEYLAN

Christie, Manson & Woods (USA) Ltd. 36 East 57th Street, New York 22, N. Y.
Tel: Plaza 2-1266 Cables: Chriswoods, New York

CHRISTIE, MANSON & WOODS, LTD.

8 King Street, St. James's, London. S.W.I

Telephone: TRAfalgar 9060 Telegrams: Christian, London. S.W.I

AUG 9

BY APPOINTMENT
ANTIQUE DEALER
TO H.M. QUEEN
ELIZABETH THE
QUEEN MOTHER

BY APPOINTMENT
ANTIQUE DEALER
TO THE LATE
QUEEN MARY

<ffiam Stuj&fJb and Cotititieiitai c/iflifer, c^Hcniaim^eA.

A Charles 11 casket on 4 feet, engraved with contemporary armorials. Maker F. W. between mullets and pellets;
See jackson p. 1 3 1 . London 1665. Length 9§ inches

An example from our collection of Early English Silver

Valuations for Probate,
Insurance and Division.

fay.

Telephone: MA Yfair 6261 & 6262 Telegrams: inland, 'Euelase, Wesdo, London': overseas, 'Euclase, London, W.I'

The Connoisseur

MAY 1965

Vol. 159 No. 639

CLIFFORD MUSGRAVE
PAUL HULTON
ANTHONY COLERIDGE
PETER WINCKWORTH
ADA POLAK
HENRY GALY-CARLES
IAN FLEMING-WILLIAMS
WILLIAM GAUNT
ARTHUR S. PFANNSTIEL
ADRIAN BURY
ALASTAIR GORDON
NEVILE WALLIS

GERALD SCHURR
ADRIAN BURY
ALASTAIR GORDON

The Frigid Gallery

Gatewick. The Steyning, Sussex, home of Mr. and Mrs. David Yorkc
William Hogarth's bicentenary

The work of George Bullock, cabinet-maker, in Scotland : 2
A unique silver 'Box' in a new London home
Maurice Marmot's glass
Hanich: from the Classical to the Imaginary
Dr. William Crotch (1 775-1 847)
From Butinonc to Chagall
Jean Cocteau discovers some Modiglianis
A hundred years of J. F. Herring, senior
Impressionists at the Kaplan
Edward Burra, singular Visionary
The Connoisseur's Diary
Paris Dispatch
In the Galleries
Art in the Modern Manner
From Riccio to Clodion
Books Reviewed
Books Received

Sotheby's and the Soclet Collection
The Art Market
International Saleroom

The American Connoisseur

Giovanni Battista Falda and the decorative plan

The Connoisseur in America M
© May 1965. National Magazine Company Limited

On Cover

Peter Monamy. 'A calm with an English man-of-war saluting.' Detail

In the possession of Messrs. Leggatt Bros., 30 St. James's Street, London, S.W.i

Colour Plates

The Dining Room and the Drawing Room at Gatewick, Steyning, Sussex, home of Mr. and Mrs.
David Yorke

Flacon of smooth, flattened shape, inlaid with bluish-mauve glass, by Maurice Marinot

/// the Victoria and Albert Museum

Hanich. 'Le Troisicme Oeil (1963)'

DAVID COOMBS

DIANE K. MCGUIRE

•l. d'otrange MASTAI

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II

SOTHEBY'S

(Founded 1744)

announce the Sale on
Monday, 21st June
and following two days of

VALUABLE PRINTED BOOKS
AND FINE BINDINGS

FROM THE CELEBRATED COLLECTION

the property of
Major J. R. ABBEY

Illustrated Catalogue (87 plates, 3 in colour), £3 3s.
Plain Catalogue 5s.

Heures presentees d Madame la Dauphine, 1745-6,
inlaid binding by Jacques-Antoine Derome, 197 x 130 //////.

Walpole's Anecdotes of Painting, 1762-80. bound by the Edwards of Halifax Bindery. 5 vol.. height 233 mm.

SOTHEBY & CO., 34 & 35 NEW BOND STREET, LONDON, W.l

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Our contributors
in this issue include :

Clifford musgrave, Director of the Brighton
Royal Pavilion.

paul hulton, of the Department of Prints and
Drawings, the British Museum.

anthony Coleridge, art-historian of English
furniture, and on the staff of Christie's.

peter winckworth, President of the Past Over-
seer's Society of St. Margaret and St. John,
Westminster.

ADA polak, representative in London of Norwe-
gian museums, art-historian of antique glass,
author of Gammelt norsk glass and many articles
on the subject of glass.

henry galy-carles, Paris art correspondent.

diane K. mcguire, landscape architect and art
historian of gardens, former Scholar of the
Radcliffe Institute for Independent Study at
Cambridge, Massachusetts, lecturer in the Rad-
cliffe Seminars at Radcliffe College.

j.

Next * 1

month in

The Connoisseur

The June number of The Connoisseur, the international art
magazine designed to meet the tastes and requirements of its
readers, will include the following contents :

Clifford Musgrave describes and illustrates in colour and
monochrome, the French and English furniture and paintings
in the collection of Mrs. Dorothy Hart at her new home —
Villa Millbrook, Jersey.

J. F. Hay ward contributes a further article in his important
series on the Mannerist Goldsmiths, in this article dealing
with England and the Holbein Designs.

Hugh Honour writes on some Florentine Baroque Bronzes in
an English private collection.

Andrew Graham presents some leading new examples of the
engraved glass of Laurence Whistler.

Ralph Edwards reviews the work of Kyffin Williams, leading
contemporary Welsh artist, illustrating four of his drawings.

E. T. Joy and Helena Hayward contribute three striking
articles on English furniture, all illustrated in colour: on
'Chinese Regency', a satinwood cabinet from Weeks's
Museum, and on a bookcase and bureau-bookcase of neo-
classical design.

F. E. Stonor highlights the important new catalogue raisonne
to the Robert Sterling Clark Collection of European and
American drawings.

Sheldon Keck, Director of the Conservation Center of the
Institute of Fine Arts, New York University, describes the
intricate restoration he is carrying out to a painting by John
Singleton Copley, from the National Gallery of Wellington,
New Zealand.

Gerard Brett, Curator of the European Department, Royal
Ontario Museum, discusses the possible origin of an enamel
pottery Punch Bowl.

In addition * all the regular features, including Connoisseur
in America, International Saleroom, Paris Dispatch — and a
full, illustrated guide to the Antique Dealers' Fair at
Grosvenor House.

SOTHEBY'S

Founded 1744

announce the Sale on Wednesday, 23rd June, of

IMPRESSIONIST AND MODERN
PAINTINGS, DRAWINGS AND SCULPTURE

the property of

The Rt. Hon. The Lord HARVEY of TASBURGH, G.C.M.G., G.C.V.O., C.B.
Mr. and Mrs. EDWARD M. M. WARBURGH, of New York
LEONARD C. STEIN, Esq.
and other owners

Alfred Sisley. Le Champ de Trejie. Signed and dated 74. 2\ \ by 28f inches.

Pierre Bonnard. Le Powr rfe /« Jo^f. Signed. 59J by 73 inches.
Illustrated Catalogue £1

SOTHEBY & CO.
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138 REGENT STREET, LONDON, W.l

AND AT LLANDUDNO

An attractive ruby and diamond Festoon Necklace of fine
quality and an important diamond Sun-in-Splendour Brooch.

Photograph reduced in size. Diameter of Brooch z\ inches

H.BLMRMANSl sons

23 GRAFTON STREET LONDON WJ.

A SUPERB REGENCY MAHOGANY BOOKCASE
IN THE GOTHIC TASTE

i ft. i! in.

Height 9 ft. I in.

Width 7 ft. I0 j in. Depth

This bookcase is taken from a design by George Smith,
which is illustrated in his book 'Household Furniture
and Interior Decoration' Plate 103 entitled Library
Bookcase published 1807.

HYDE PARK 0 4 4 4 BLMRTIQUE, LONDON WJ

Member of the British Antique Dealers' Association Ltd.

A FEVE PAIR OF 18th CENTURY
SILVER WINE COOLERS

dale 1794 by Robert & Thomas Makepeace
height 7.3 int weight 102 oz.

The contemporary armorials are tbo*e of Jeffrey,
1st Baron Amherst. Commander-in-Chief of
the British Forces in North America 1758-1764,
and Governor of Virginia 1759-1768-

GRAVES, SON & PILCHER

will sell at their Palmeira Auction Room. Hove. Sussex, on
Monday. 31st May. 1965

FINE ENGLISH SILVER

including

RECORDED CENTREPIECE
by PAUL STORR

GEORGE I
OCTAGONAL COFFEE POT

and other interesting pieces

(The property of Mrs. L. M. Kaye,
and other private owners)

Also

FURNITURE. RUGS.
PORCELAIN, PICTURES, etc.

Catalogues (1 -) from the
Auctioneers' Hove Office:

42 CHURCH ROAD
HOVE. SUSSEX

(Tel: Hove 35266)

Also at Brighton and London

PAUL STORR London 1825 35 (Fully marked)
Height 33 in. (Excluding base) 368 oz. (Sconces
interchangeable with a fruit dish)

PROBABLY BY SAMUEL \\ ASTELL
London 1720 (Fully marked)
Height 9| in. 28 J oz. (gross)

The Connoisseur, May, 1965

VIII

ALFRED BROD GALLERY

EXHIBITION OF RECENT ACQUISITIONS

4th May -29th May 1965

36 Sackville Street, Piccadilly, London, W.l

Telephone: Regent 7883

WILLIAM WALTER

(Antiques) LTD.

ANTIQUE SILVER

CHANCERY HOUSE, CHANCERY LANE,
AND LONDON SILVER VAULTS W.C.2

Telephone: Chancery 3248/49

Telegrams: Walter Silvavults London, W.C.2

Very fine quality Charles II tankard date
1674 by John Ruslen of London. Weight: 40 oz.
Bearing a contemporary Coat of Anns.

MANN AND FLEMING LTD.

GROsvenor 2770

Regency mahogany sofa table
5 ft. 2 in. X 2 ft. 4 in.

120° MOUNT STREET LONDON, W.l

The Connoisseur, May, 1965

X

I. F. VAN LINT, 1684-1763

Signed and dated 'Roma 1721' Canvas 22| X 29|- inches

Seventeenth and Eighteenth Century

ITALIAN PAINTING

Exhibition 12th May - i2lh Jane

HAZLITT GALLERY

./ Ryder Street, St. Jamcs\s, London SWi

Whitehall 6821

ONDON, S.W.3

5: JEREWIQUE, LONDON, S.W-3

sociation Ltd.

A Small Irish Chippendale mahogany Cabinet

Width 4 ft. 5 in. Height 6 ft. 9 in. Depth 1 ft. 4 in.

An apple-green Dessert Service with landscape views
2 Comports, covers and stands. 9 Dishes. 21 Plates

All these are in perfect condition

Gerald Kenyon

FINE ART & ANTIQUES

36/37 SOUTH WILLIAM STREET, DUBLIN, 2

Dublin 73945

Also: 1 1. Kenyon The Old Leche House Chester Chester 24742

MAAS GALLERY

JOHN BRETT, ara, 1830-1902. Near Goring-on-Thames. water-colour heightened with
white, signed and dated '65. 12 in. x 16 in.

PRE-RAPHAELITES
to POST-IMPRESSIONISTS

An Exhibition of Drawings and Water-Colours

May 3rd - May 21st

Weekdays 10-5 Saturdays 10 - 12

15a CLIFFORD STREET. NEW BOND STREET, LONDON Wl

REGent 2302

An Exhibii

Andre Guillaumin

Chamaillard Lebourg

D'Espagnat Lepine

da Puigaudeau Le Sidaner

K A P L A r»

6 DUKE STREET

Illustrated cata

itk

Em
v

HENRI-MARTIN

Saint Cyr la Popie

VIPRESSIONISTE

3aintings by

Loiseau

Luce

Luigini

Henri-Martin

Maufra
Picabia
Raffaelli
Vignon

iALLERY

JAMES'S LONDON SW1

ble on request

The Hallsborough Gallery

EXHIBITION

FROM BUTINONE TO CHAGALL

Fine paintings and drawings of six centuries

GIULIO ROMANO 1499-1546. 'A THREE-HEADED DRAGON"
Pen and Ink, X 6\ inches (15 X 15-6 cm.)

MAY 12 JULY 25

WEEKDAYS 10-6 SATURDAY 10 - 12.50

Fully illustrated catalogues with 51 colour plates on sale in aid of
THE WINSTON CHURCHILL MEMORIAL TRUST, price £1 plus postage

143 NEW BOND STREET, LONDON W.l

TELEPHONE: GROSVENOR 1925 & 4585 CABLES: PICTORIO LONDON, W.l

The Hallsborougli Gallery {continued)

■ r ir i — — —

JAN JOEST VAN CALCAR 1460-15 19. 'THE HOLY FAMILY'

Panel, 23 X 17! inches (58-4 X 44-8 cm.)

A1j>o 011 exhibition paintings by

BERCKHEYDE

BUTINONE

DEHOO( 11

TIEPOLO

V AN BEYEREN

CARON

LONGH1

VAN DE VELDE

BINOIT

CHAGALL

MAGNASCO

VIGEE-LE BR UN

BONNARD

TEN COMPL

OUWATER

VUILLARD

BORDONE

CRANACH

PITTONI

ZAIS

BOSSCHAERT

FANTIN-LATOUR

ROBERT

ZUCCARELLI

BRUEGHEL

FORNLMUllGIl

RUYSDAEL

ZURBAR W

The I [allsborouuli (lattery

3-1632. 'STILL LIFE OF FRUIT WITH A MING BOWL AND A ROEMER OF PINKS'
Signed with monogram. Panel, 21J x 28J inches (54-5 X 73 cm.)

ii

'A PEASANT WEDDING IN A VILLAGE'

Signed. Panel, l6j X 27^ inches (41-3 X 69-9 cm.

(IERRIT BERCKHEYDE 1638-1698. 'VIEWS OF A RHINELAND TOWN'
Signed and dated 1672. Each panel, 12 X 14! inches (30-5 x 36-8 cm.)

{Continued) The Hallsborough Gallery

GIOVANNI BATTISTA PITTONI THE YOUNGER 1687-1767.
•THE SACRIFICE OF POLYXENA AT THE GRAVE OF ACHILLES'
Canvas, 28J X 21J inches (72-4 X 55-2 cm.)

i

(continued) The Hallsborough Gallery

'LANDSCAPE WITH FIGURES'

Canvas, 2O5 X 29 inches (52*1 X 73 • 7 cm.)

MARIE LOUISE ELISABETH VIGEE-LE BRUN 1755-1842.
'LADY HAMILTON AS THE PERSIAN SIBYL'
Signed and dated 1792. Canvas, 54* x 39J inches (138-8 X 101 cm.)

continued) The Hallsborough Gallery

VANNI DOMENICO TIEPOLO 1727-1804.

'CHRIST HEALING THE BLIND'

Canvas, i6f X 25^ inches (42'5 X 63-8 cm.)

BASSANO
BERNINI
BOUDIN
CARPEA I \

Also on exhibition drawings by

FARINATO
FRAGON WW)
GIOLFINO
(tRIMALDI

LEONI ROMANO

LIGORIO TIEPOLO

POZZOSERRATO VASARI

HI ( CI ZOPPO

The Hallsborough Gallery {Continued)

Fully illustrated catalogues with 31 colour plates sold in aid of
THE WINSTON CHURCHILL MEMORIAL TRUST price £1 plus posta

The Hallsborough Gallery

EDOUARD VUILLARD 1868-1940 'MADAME VUILLARD IN THE RUE DE CALAIS'— 1910
Distemper, 25 J x iy| inches (65 • 5 X 50 cm.)

145 NEW BOND STREET, LONDON W.l

TELEPHONE: GROSVENOR 1923 & 4585 CABLES: PICTORIO LONDON, W.l

The Connoisseur Register Advertisement!

GALLERIES

Dunning s Antiques. 1 0,000 sq. feet showrooms only 20 miles north of
London. Offer Apothecary Chests and Mortars. Early Candlesticks,
Lanterns and Rushlights. Wine Bottles, Tobacco and Snuff Boxes, Fire-
irons, Dogs and Grates. Pewter Tankards and Chargers. Amusing Tavern
and Trade Signs. 58 HOLYWELL HILL, ST. ALBANS 51 065.

Haddonfield, New Jersey: Sanski Gallery, 50 Tanner Village. Fine
early American and European paintings, drawings and sculpture bought,
sold, restored.

Oil Paintings cleaned and restored by experts. Large selection of 18th,
19th, 20th Century Oil Paintings on sale. We buy old Oil Paintings of
quality irrespective of condition. Our experts will search and buy named
painters' works on commission basis. EL GRECO ART GALLERIES
LTD., 496 KINGS ROAD, WORLDS END, CHELSEA, LONDON,
S.W.10. Tel. Flaxman7953.

WANTED

Garrard The Crown Jewellers offer the highest prices for valuable items
of silver and jewellery. Experienced and totally reliable valuations at your
request to 1 1 2 Regent Street, London, W.1 . Regent 7020.

Wanted: Russian Enamel Pieces. Write A. E. Turcone, 298 Broadway,
Providence, R.I., U.S.A.

Wanted by Private Collector OLD AMERICAN FLAGS (prior to 1870).
Write B. Mastai. 21 East 57th Street, New York 22, N.Y., U.S.A.

Wanted: Gold jewelry, art nouveau period, also Russian jewelry.
Satellite's, 1 721 Pine Street, Philadelphia 3, Pa., U.S.A.

Wanted Old Correspondence, 1 8th and early 1 9th century, especially
letters from overseas with postal markings of the pre-stamp era, or with
stamps. Col. A. Murray, Greenhill, Rownhams, Southampton.

FOR SALE

Old Prints, unrivalled selection on all subjects, also ORIGINAL
DRAWINGS, RARE BOOKS and AUTOGRAPH MANUSCRIPTS.
Callers by appointment only, telephone Ambassador 5439. Walter T.
Spencer, specialists since 1 856, 47 Upper Berkeley Street, London, W.1 .

Antique Maps - Send for illustrated catalogue stating part of interest.
P.J. Radford (C). Denmead, Portsmouth, Hants.

F. Goya: Ink Drawing 20 5 * 14 cm., 'An Old Beggar Woman', and
Etching 'La Garrotte', cut down to 23 * 18 cm. (See Delteil No :21 ). Price
as one lot S1 5.000 : No offers : No dealers : Box No : 731 6.

Gauguin. Lautrec, Pissarro, etc. Catalogue of drawings and manuscrip
for sale. Anthony d'Offay, c/o : National Provincial Bank, 1 0 Maryleboi
High Street, London, W.1 .

Private Collectors find the 1965-66 edition of 'Antiques in Britai
invaluable. 300 pages, £1 from 5 The Cedars, Wendover, Bucks.

Book. 'English Goldsmiths And Their Marks' — Sir Charles Jackso
New 1 965 Edition. 768 pages. 1 3,000 marks. £8 delivered. Ceramic Boc
Company, St. John's Road, Newport, Mon., England.

Hans Horst Koch, Rare Books, Berlin 62 (West), Haupstr. 7-8, offe
for sale : Rosenberg, DerGoldschmiede Merkzeichen.3rd (last) ed.4 vc
P.-cl. £36, S100. Wurzbach, Niederlandisches Kunstler- Lexikon. La
ed. 3 in 2 vol. Repr. P.-cl. £1 6, S45.

SITUATIONS

Valuers. London firm specialising in the valuation of domestic chatte
has vacancies for gentlemen with good recent experience in this fiek
Ability to travel essential, coupled with expert knowledge of antiqu
furniture, silver and ceramics, etc. Write Box No : 731 3.

MISCELLANEOUS

Jolly's Auction Rooms, Old King Street, Bath, Somerset. New purpos
built rooms -5,500 sq.ft. Frequent Pullman service from London. Regula
fortnightly sales. Antique Furniture; Silver and Plate; Pictures; Books
Porcelains, etc. Telephone Bath 3201 (4 lines).

School of Design & Decoration. The next ten-week concentratet
courses start on 1 st October.

The Lecture Course, supervised by Mrs. Michael Inchbald, covers a
aspects of period and modern Interior Design with lectures by experts or
the history and appreciation of art, architecture, furniture, silver and china
practical sessions and visits to historic houses and designers' studios.
The Drawing Course gives practical training in drawing and designinj
interior schemes, working at the drawing board under the supervision o
practising interior designers. Details and application forms from Inch
bald School of Design, 10 Milner Street, London, S.W.3. Knights
bridge 4456.

Hard-To-Find Books located thru world-wide contacts. Agents ir
principal cities all over the globe. Book Landling, 6631 Hollywood Blvd.
Hollywood, Calif. 90028.

Register advertisements are 1/6 per word, minimum £1 for 15 words,
which must be prepaid and sent to the Advertisement Manager, THE
CONNOISSEUR. CHESTERGATE HOUSE, VAUXHALL BRIDGE1
ROAD, LONDON, S.W.1 (Victoria 2331). Addresses or Box Numbers
must be inserted, and replies to the latter should be clearly marked with
the Box Number. The Proprietors of The Connoisseur accept no
responsibility for any sales effected.

HEATH-BULLOCK

ANTIQUES

24 MOTCOMB'ST.
LONDON
S.W.I

BEL: 7313

8 MEADROW
GODALMING
SURREY

TEL: 2562

RICHARD H. EVERARD Mapledene

Georgian Silver Snuff Boxes Woodhouse Eaves

Loughborough

and Vinaigrettes T ■ 1 ■

& Leicestershire

By appointment only Tel Woodhouse Eaves 291

£1 10 Reward Stolen, between 23rd February I Ith March, prem-
ises in King Street, S.W.I., a Semitic bronze nude female figure,
one hand placed across the navel and the other below the breasts,
the body engraved with a belt, the large eyes recessed to contain
inlay, and with two long plaits hanging down on either side of
the head. 8 in. high. Late Bronze age, circa 1500 B.C. The above
reward will be paid by Hart & Co., 23 Lawrence Lane, E.C.2.
(MON. 3266), subject to the usual conditions.

1*. II. <-IM IM.II A'l

Member: B.A.D.A. Ltd.
Antiques and Works of Art

LARGEST STOCKS IN THE SOUTH OF ENGLAND

Speciality: Old English Cottage Furnishing

8 CHERTSEY STREET 'LYND HURST' LONDON ROAD

GUILDFORD GUILDFORD

Telephone: 5750 Telephone: 61952

BRIAN KOETSER GALLERY

■r Landscape

JACQUES d'ARTOIS 1613-1686

Canvas: 26 x 36 inches

SPRING EXHIBITION

OF

OLD MASTER PAINTINGS

3rd May - 2nd July

Weekdays 10-6

Saturdays io- 1

38 Duke Street, St. James's, London, SWi

Whitehall 6309

Portraits
in oils
by

Royal

Academy

Exhibitors

From sittings or treasured photographs

Ham Galleries

40 DUKE STREET, ST. JAMES'S, LONDON S.W.I

WHITEHALL 4008 CLOSED SATURDAYS

'TOM MOLYNEUX AND TOM CRIBB' - A PAIR OF RARE
-STAFFORDSHIRE FIGURES

4 ROYAL ARCADE
LONDON • W.I

OLD BOND STREET
MAYFAI R 2643

Dealers in Antique Porcelain

Built-in perfection

Today there are two main standards by which furniture is
judged: attractive appearance and capacity to economise on
space. The fitments shown here satisfy both requirements
admirably. Individually designed to the owner's personal
taste, each contributes to an atmosphere of gracious living
that is rarely equalled in conventionally furnished homes.
Whether you require a complete room setting or an individual
unit, Built-in Furniture Ltd. are the acknowledged specialists.
In addition Built-in Furniture Ltd. can look after all aspects
of complete home decor. Every item is craftsman built from
selected materials and fully guaranteed.

For further details of this specialist service write :

built-in

furniture limited

Dept. CN 5 65, 116 Wigmore Street, London W.I.
WELbeck 6849 '6840

Showrooms at 116 Wigmore Street and at
461 Finchley Road, N.W.3. HAMpstead 1827

The Connoisseur, May, 1965

XXXII

and Provincial Trifd spoons from our wide
selection oj Early English Silver.
(Sold separately)

VP,

Set of twelve George II
Old English pattern three-prong table
forks, all engraved with Castle Crest.
Weight: 23 oz. 12 dwt.

tique English Silver

& J. SHMUBSOLE

LIMITED

Old Sheffield Plate

LONDON 43 MUSEUM STREET W.C.L HOLBORN 2712
NEW YORK 104 EAST 57th STREET PLAZA 3-8920
fember of The British Antique Dealers'' Association, Ltd. Member of The New York Antiques and Art Dealers Association, Inc.

1 III Bowl and Cover
1JOO. Maker: J. Stockar

5f in. Height 5 in.
: 15 oz. 10 dwt.

In New York

marked on body and cover
as maker's mark on base

SHOWCASE

lSth Century Bronze. Attributed to CLODIOS
Height 14\ in. Length 17J in. Width 12\ in.

INGRAM WARWICK Ltd

Antique Lovers Coterie for Jewels & Objets d' Art

6 SOUTH MOLTON STREET
LONDON W.i Mayfair 4388

Regency
period agate
box, standing on
an elegant
Sheraton
screen table.
Original
throughout
c. 1815.

Member of The
British Antique
Dealers'
Association
Ltd.

PETER FRANCIS

37 BEAUCHAMP PLACE

LONDON S.W.3 Kensington 4243

A Viennese
jewelled ivory
figure of a
miner holding a
lantern clock on
a lapiz-lazuli,
silver and
enamelled base,
the back
opening to
reveal a
working scene
in the mines.
(Circa 1850).
Height 8$ in.,
width 4 in.,
depth 4 in.
Catalogue of
Antique
Clocks 25/-.

Philip & Bernard DOMBEY

174 KENSINGTON CHURCH STREET
LONDON W.8 BAYswater 7100

A fine
mahogany
Hepplewhite
Secretaire-
Bookcase with
original
Brasses,
circa 1780.

Height:
7 fi- 9
Width:
j ft. 7 in.

DAVID TRON

275 KINGS ROAD
LONDON S.W.3

Flaxman 59 IS

CHRISTOPHER ROWLEY
(Interior Decorators) Ltd,

69 LOWER SLOANE STREET,
LONDON, S.W.I Sloane 3800/3733

GAY ANTIQUES

Fine Porcelain and Silver

I BEAUCHAMP PLACE

LONDON S.W.3 Knightsbridge 9615

.-In attractive
silver Coffee
or Hot IJ'rtft'r
J"Z-

By Morson
and

Stephenson,
London 1774.
Weight:

33 oz-
Height:
12J in.
Price: £300

H. R. JESSOP LTD

3 MOTCOMB ST., BELGRAVE SQ.,
LONDON S.W.I Belgravia 2978

PETRI'S PLANCIUS 1552-1622. Map ofthe
World. Published in Amsterdam 1594. l6x 23m.

Specialist in old maps and prints

Exhibiting at 'Spring Antiques Fair,
Chelsea'

BAYNTON- WILLIAMS

70 OLD BROMPTON ROAD
LONDON S.W.7 Knightsbridge 4941

WE ALWAYS HAVE AN ATTRAC-
TIVE COLLECTION OF TAPESTR Y
AND NEEDLEWORK CUSHIONS.

E. B. SOUHAMI

6c PRINCES ARCADE.
LONDON S.W.i

Regent 7196

Empire fireplace in white marble. Il 'idtt
Depth 14 in. Height 40 in. £i8$.o.o.
Pair of lQth Century three brand: amber
candlesticks. 63 gns.

C. P. BURGE

162 SLOANE STREET
LONDON, S.W.i Sloai

and at Kingston and Thames Ditton,

HUGGINS & HORSEY

26 BEAUCHAMP PLACE
LONDON S.W.3 Knightsbridf

CECIL DAVIS LTD

Fine Antique Glass
3 GROSVENOR STREET

LONDON W.

Grosveno

6J> ^//fleet ^&>ud»

Hyde Park 47 1 1

j. A. FREDERICKS

(Member of The British Antique Dealers Association)

Wishes to Purchase Old English Furniture

DORSET GALLERIES
49 DORSET STREET, BAKER STREET LONDON, W.I Welbeck 8934

COIN & MEDAL SPECIALISTS

Collections and rare pieces wanted
Catalogue of English Coins l4/9d including postage

A /ist of catalogues and other publications on request

B. A. SEABY LTD.

65 Great Portland Street, London W.I Telephone LANgham 3677

CHINESE

GALLERY

BOOKS ON THE FINE ARTS FROM CHINA

40 Great Russell Street, London, W.C.I.

(LANGHAM 7538)

M. NEWMAN LTD

Established 1870 Members of The British Antique Dealers' Association Ltd.

43a Duke Street, St. James's
and 1/3 Ryder Street,
London, S .W. i

Telephone: WHIlehall 6068/9

Telegraphic Address: NEWPIC, LONDON, S.W. I

Venice

by MARTIN RICO (signed)

Panel size: 9£ x 13£ inches (24 x 34 cm.)
Framed size: 14 x 18 inches (36 X 46 cm.)

The Lagoons, Venice Venice

by F. R. UNTERBERGER (signed) hy RUBENS SANTORO (signed)

Panel size: 22 x 15 inches (56 x 38 cm.) Panel size: 10J x 13J inches (27 x 34 cm.)

Framed size: 27 x 20 inches (69 X 51 cm.) Framed size: 14i x 17| inches (37 x 44 cm.)

XXXV

SPECIALISTS IN ANTIQUE PORCELAINS, FAIENCE AND MAIOLICA

156 BROMPTON ROAD, LONDON S.W.3

Telephones:
KENsington 5272 and 3793

Cables:

PORCELJQUE LONDON SW'3

MEISSEN, r. 1725

Decorated in the workshop of

Bartholomaeus SEUTER of Augsburg

in polychrome enamels on a burnisheJ gold ground.

LONDON

CITY SHOWROOM

Leather Lane, E.C.I
Holborn 4G33

FREEMAN & SON LTD

Members of The British Antique Dealers' Association Ltd.

NEW YORK

NEW YORK SHOWROOM

12 East 52nd Street
Plaza 9-6900

Hester Bateman

A magnificent pair of George III Sauce Tureens decorated with bright cut engraving
by Hester Bateman. Made in London 1735, weighing 38.5 oz.

The Connoisseur, May, 1965

XXXVI

OSCAR AND PETER JOHNSON LIMITED

EXHIBITION

PAINTERS OF THE NORWICH SCHOOL

5th May - 2lst May

Oil Painting Still Life with basket of fruit By ELOISE STANNARD Canvas 30 x 25 inches

LOWNDES LODGE GALLERY
CADOGAN PLACE, LONDON, S.W.i

Telephone: BELgravia 6464-5

Cables: ARTCOS, LONDON, S.W.i

XXX VII

AUCTION SALE AT VERSAILLES

SEURAT: drawing

HOTEL RAMEAU. 5 rue Rameau

M. GEORGES BLACHE
Commissaire-Priseur (T: 950.55.06 & 950.71.29)
Wednesday 2nd June at 21 hours

IMPORTANT PAINTINGS OF THE FAUVE PERIOD

5 canvases by VAN DONGEN
FRIESZ - MANGUIN - VALTAT

Fine Works by BONNARD - BOUDIN MARY CASSATT
COURBET- ROBERT DELAUNAY - MAURICE DENIS
DE DREUX-DUNOYER DE SEGONZAC - D ESPAGNAT
FAUTRIER - LAPRADE - HENRI MARTIN - MONTICELLI
PISSARRO - ROUAULT - SEURAT - SIGNAC - VUILLARD
UTRILLO dated 1905

OLD MASTERS of the 16th, 17th and 18th Centuries

VERY FINE CHAIRS AND FURNITURE
of the Louis XV and Louis XVI periods

On view: 27th, 28th, 29th and 30th May

Parcel Gilt Silver Dish
AUGSBURG c. 1710 by Philipp Kusel
42 oz. 19£ in. diam.

H. S. WELLBY

Antique English and Continental Silver

16c Grafton Street, W.i

Member of the B.A.D.A. Ltd. Telephone: Hyde Park 1^97

GENEVIEVE AYMONIER
PARIS

Old Master Drawings

13 RUE DES SAINTS-PERES, 6c Tel. 222.26.61

The Connoisseur, May 1965

XXXVIII

By Appointment
to H.M. The Queen
Silversmiths
A Jewellers.

A fine pair of small size Tazza, with
Gadroon borders and cut card decora-
tion on reverse. Anne. London 1703 by
J. Fawdery. Height 2\" . Diameter 6J".
Weight27.10oz.

ASPREY & COMPANY LTD • 165-169 NEW

ASPREY IN THE CITY. The City man will find a
usefully close-at-hand service at Asprey and
Bi.rch & Gaydon, 153 Fenchurch Street where,
besides the comprehensive stock held, any pieces
can be sent from Bond Street at short notice.
BOND ST • LONDON W.1 ■ HYDe Park 6767

MARTIN & Co. Ltd. of CHELTENHAM

GOLDSMITHS AND SILVERSMITHS SINCE 1806

George III Tankard George III Jug George III Sugar Basket

1779 John Schofitld 1783 John Schoneld I79« John Schoheld

Promenade CHELTENHAM Telephone 22821

The Connoisseur, May, 1965

XL

FROM RICCIO
TO CLODION

An Exhibition
of

European Works of Art

April 28 - May 21

VULCAN FORGING

Silver and parcel gilt
Height 13', inches

by JOHANNES SCHEPPICH (1650-1701)
Mark I.S.

Augsburg 17th Century

DAVID PEEL & co. ltd

2 CARLOS PLACE, MOUNT STREET, LONDON W.l

HYDe Park 3161

Oil on Canvas

AMERICAN CLIPPER BLUE JACKET 1J90 TONS

Painted by L. A. Wilcox, R.I., S.M.A. Camas 30 X 40

This talented marine artist has specialised in paintings of the sea for more years than
he cares to remember, but it is only in recent times that he has devoted his skill to the
fascinating and graceful Clipper ships. His wide knowledge of ships of all periods,
backed by years of model-making, guarantee the accuracy of the pictures he creates
and which Parker are very happy to display.
Our Marine Catalogue will be mailed to you post free upon request.

THE PARKER GALLERY

2 ALBEMARLE STREET
PICCADILLY LONDON, W.l

Telephone: GROSVENOR 5906-7

FOUNDED 1750

Original shop at
Comhill, City

The British Antique Dealers' Association
Member since 1919

The
world's

most
famous
crystal

30 BIS, RUE DE PARADIS - PARIS 10'

Agents for Great Britain

MINTONS LTD

STOKE-ON-TRENT

Each piece engraved

SPECIALIST IN
EUROPEAN
PERIOD CARPETS

AUBUSSON
SAVONNERIE
NEEDLEPOINT

CATAN

129, Av. des Champs-Elysees

PARIS

PHONE BAL 41-71

17 th century Spanish Cuenca carpet
with a green and blue design on a
yellow ground. 3 by 4 metres

LOWE & SONS

Established 1770 Member of The British Antique Dealers Association

1 1 BRIDGE STREET ROW
CHESTER 25850

CREAM JUG London 1745

Maker: John Pollock

Weight: 4 oz. Height to lip: in.

MARTA SAMPSON

183b KINGS ROAD CHELSEA S.W.3

FLAxman 5522

Antiques and Interior Decorating

A very fine Adam walnut card table. Circa l j6o
Height 2g in. Length 33 in. Width 17% in.

The Connoisseur, May, 1965

XLIV

VALUATIONS

TEMPLE
WILLIAMS

LIMITED

ANTIQUES

WORKS OF ART

v

One of a RARE PAIR OF 18th CENTURY CANTON ENAMEL WALL PLAQUES repousse and painted in
brilliant famille rose colourings. Ch'ien Lung period. Height 2 ft. 4 in., width 1 ft. 5 in.

. . . These panels are of great interest to the collector in the fact that they are both inscribed 'made by P-an Shun-Chih, a
workman in the department of enamels serving in The Palace'.

It is recorded that the Emperor Kang Hsi established in 1680 a number of workshops into which he gathered experienced
craftsmen for the fashioning of various Works of Art, such as, enamels, clocks and watches, Ju-i sceptres and the like.

HAUNCH OF VENISON YARD • BROOK STREET- LONDON Wl

Literally a yard off Brook Street MAYFAIR 1486

SPECIALIST IN UNUSUAL PIECES OF THE REGENCY CHINOISERIE PERIOD

MEMBERS OF THE BRITISH ANTIQUE DEALERS' ASSOCIATION LTD.

1

A mid-eighteenth century bureau bookcase in mahogany, only 20
inches wide. To be exhibited at the Chelsea Spring Antiques Fair.

PETER TOBIN

In association with Carl Ziegler Ltd.

Old English Furniture
Decorations and Restorations

44 HARRINGTON ROAD, LONDON S.W.7
Kensington 6646

The Connoisseur
is

published
mon thly

Price io/-

SUBSCRIPTION RATES IN BRITAIN
jT6 15s a year mcluding postage

IN U.S.A.

$18.00 for 12 issues
I34.00 for 24 issues

The 12 issues include the Antique Dealers' Fair Number
Main Subscription Agents

The Belgrave Library, 22 Armour)' Way, London, SW18

THE FINEST STEAKS IN THE WORLD

Selected for discerning
connoisseurs at London's
original steak house

EMU LA TED -BUT NOT EQUALLED

PARAMOUNT GRILL

14-15 IRVING ST., LEICESTER SQ.
LONDON, W.C.2.

FULLY LICENSED
RESERVATIONS — WHItehall 0744

Open until midnight — 7 days a week

The Connoisseur, May, 1965

XL VI

EIGHTH ANNUAL

EXHIBITION

NARCISSE DIAZ, Signed and dated 1873

SbMBR

Panel, 16£ x21| in. (42 x 55 cm.)

PAYSAGES DE FRANCE

Nineteenth Century French Landscape Paintings

4th May - 12th June

Weekdays 10-6 Saturdays 10-1

L TERRY-ENGELL GALLERY

8 BURY STREET, ST. JAMES'S

Telephone: TRAfalgar 2606 LONDON SW1 Cables: Artengel. London SW1

A most unusual and rare mid lSth century carved wood looking
glass painted dull white and green, incorporating a barometer
and thermometer.
Max height: 59 in.
Width: 23 in.

BY APPOINTMENT ANTIQUE DEALERS TO THE LATE QUEEN MARY

MALLETT

MALLETT & SON (ANTIQUES) LTD., 40 NEW BOND STREET,
LONDON W. 1 . TELEPHONE GROSVENOR 741 1 (5 LINES)

AND AT BOURDON HOUSE, 2 DAVIES STREET, LONDON, W.l

the seventeenth

ART & ANTIQUE
DEALERS' FAIR

AT THE
PRINSENHOF MUSEUM

DELFT - HOLLAND

24 th JUNE - 14 th JULY

1965

Write for free brochure to the secretary •
Rijnsburgerweg 28 - Leiden

The Connoisseur, May, 1965

XL VIII

CHARLES WOOLLETT
& SON

Members of B.A.D.A.

Fine and attractive Portrait of the Chevalier d'Aydie
(1692-1746) as a young Knight of Malta, wearing breast-
phitc, tricorne under right arm, red velvet coat with
decorative cuffs and wearing the cross of a Chevalier
de Justice. He was one of the most Romantic of the
18th Century French Members of the order of the
Knights of Malta. Attributed to the fashionable
Portrait painter Antonio David (1680-1738).

In a carved wood frame of the period.

Size of painting: 29 in. by 24 in. Size overall: 36 in. by
31 in. Circa 1715.

59/61 WIGMORE STREET W.1

Established 1889

Telephone: WELbeck 8664

IS
13
IS
IE

A fine and unusual early Louis XV sideboard in kingwood
parquetry, with ormolu mounts and marble top stamped by
Jacques Dubois (1693-1763) M.E. 1742, French, circa 1745.
Width: 3 ft. 3 in. Depth: 1 ft. 2 in. Height: 2 ft. 10 in.

French furniture
and Sculpture

Garden statuary
and furniture

at

nourdfon house

Telephone: MAYFAIR 2444/5 2 DAVIES STREET ■ BERKELEY SQUARE • LONDON ■ W.I Telegrams: MALETHOUS LONDON

ENGLISH FURNITURE — 40 NEW BOND STREET, W.I

StalalaiarcHIilgBEDElgtEiEgEta

XLIX

RALPH

BLAKELOCK

COLLECTORS' FINDS

MAYNARD WALKER GALLERY

117 East Fifty-seventh Street, New York, 22 PLaza 3-4553

THE FURNITURE OF GREECE

DESIGNED BY T. H. ROBSJOHN-GIBBINGS

Exhibited and for sale in the galleries of SARIDIS S.A., Syngros Ave.. Athens 404, Greece.

The Connoisseur, May, 1965

L

By Appointment
Antiquaries of Chinese Works op Art
to H.M. the Kino of Sweden

By Appointment
Antiquaries of Chinese Art
to the late Queen Mary

By Appointment
Antiquaries of Chinese Art
to H.M. Queen Elizabeth
the Queen Mother

JOHN SPARKS

LIMITED

Clunesfe MoxU of 8rt

. 4-v -, 'A

■

A Chinese pale sea green jade vase with russet
veining carved in the form of the Ling Chih
(Sacred fungus of Longevity)
CH'IEN LUNG PERIOD: A.D. 1736- 1795

Height (including stand): 6J inches

128 MOUNT STREET, LONDON, W.l

GROsvenor 2265

□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□a

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SIMON KAYE LTD

Pair of George III silver Sauce Boats. Date 1771. Weight 45 x 10
Maker F.B.N.D. (Fras. Butty and Nicks. Dumee.) Length 8J in. Width 4[ in. Height in.

LONDON W.l

1b ALBEMARLE ST PICCADILLY

Telephone: hyde park 7658 and 5152
□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□

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DUITS

LTD

Finest examples
of

iyth century Dutch Masters

6 DUKE STREET

ST. JAMES'S, LONDON, S . W . i

Telephone: Whitehall 7440

HENRY SPENCER

s^E^s & SONS -

ESTABLISHED 1840

Frit C. Spencer, C.B.E., M.A. (Cantab.), F.R.I.C.S., F.A.I.
Rupert W. Spencer, M.A. (Cantab.), F.A.I.
H. Michael Spencer, F.R.I.C.S., F.A.I.
L. M. Seymour. W. E. Peck, F.A.I. Harry C. P. Spencer, A.A.I.

of RETFORD, Nottinghamshire

Sales by Auction
of the Contents of Mansions and Country Houses
Sales of Landed Estates and Properties

RETFORD SALEROOMS

MAY 13th and 14th
XVIII and XIX CENTURY FURNITURE
PAINTINGS, PORCELAIN, SILVER
WORKS OF ART, COINS

20 The Square, RETFORD, Notts.

Telephone 2cj 1-4

The Connoisseur, May, 1965

lh

'Le Dejeuner (Misia et Cipa Godebski)' 1897 by E. VUILLARD Oil on board 12J in. x 21J in.

PARIS-LONDRES

A collection of paintings recently acquired abroad including

BOUDIN • JONGKIND GAUGUIN

MANET • MONET SISLEY
RENOIR PISSARRO SEGONZAC

27 April - 15 May

TOOTH

Established 1842

31 Bruton Street, London W.i

Tel: GROsvenor 6741. Cables: INVOCATION LONDON

LIU

THE LEFEVRE GALLERY

6th to 29th May
WATERCOLOURS BY

EDWARD BURRA

Telegrams : Drawings, London W.I

The Straw Man 31^.-, 44^ inches

30 BRUTON STREET LONDON Wl

Telephone: Mayfair 2250

GRABOWSKI GALLERY

84 Sloane Avenue London SW3 KEN 1868

to May 15 Janina Baranowska/Telfer Stokes Paintings
from May 18 Brian Wright/Krystyn Zielinski

Paintings Metal Constructions Open daily 10-6

BROADWAY ART GALLERY, Broadway, Worcs.

Telephone Broadway 3237

Impressionist and 20th Century Paintings
SPANISH MASTERS

SARIN

GALLERIES

4 Cork St., Bond St.
REGent 6186

Specialists in
English 18lh Century
paintings and drawings

OMELL GALLERIES

22 BURY STREET ST. JAMES'S
LONDON S.W.I TRA 4274

FINE CONTEMPORARY and 19th CENTURY PAINTINGS

THE TRYON GALLERY LTD

41-2 DOVER STREET, LONDON, W.i HYDE PARK 5161

Sporting and Natural History pictures

Hal O'Nians

OLD MASTER DRAWINGS EXHIBITION

until 12th May

6 RYDER STREET, ST. JAMES'S, LONDON. S.W.I
Telephone: Whitehall 9392

paintings by

NEMES

may

drian galleries

5-7 porchester place marble arch W2 pad 9473

Rupert Preston Ltd.

14 DUKE STREET (1st Floor). St. James's. London S.W.I. WHItehall 1794
(Entrance. Mason's Yard)

EXHIBITION OF 17th CENTURY
SEASCAPES OF THE NETHERLANDS

June 1st - 30th
at

HAL O'NIANS GALLERY

6 RYDER STREET, LONDON S.W.I

Antique Silver. . .

BY APPOINTMENT
TO HER MAJESTY THE IJUEUN
GOLDSMITHS «< CROWN JEWELLERS,
GARRARD & CO. LTD., LONDON

by GARRARD

This Teapot, date George II 1 722, was made by Abraham Buteux. It is part
of the wide range of antique silver always to be found at Garrard.

GARRARD The Crown Jewellers

112 REGENT STREET W1 ■ REGENT 7020

LV

DM&P

MANHEIM

Members of The British Antique Dealers* Association Ltd.
and Art and Antique Dealers" League of America

LONDON

69 Upper Berkeley Street Port man Square W.l

Telephone: PADdington 6595 Cables: Vivantique, London W.l

NEW YORK

46 East 57th Street New York 22 N.Y.

Cables: Vivantique, New York

PLYMOUTH PORCELAIN CIRCA 1770

Above: Rare sauceboat with fluted sides and base, decorated
in colours w ith delicate sprays of red, blue, and purple flowers
and green leaves. 3| in. high, 6| in. long.

Below: Fine bell-shaped tankard, decorated with large exotic
birds painted in colours against a tree background, a large
winged insect, and a border in gilt. 4J in. high

(cf. 'COOKWORTHY's PLYMOUTH AND BRISTOL PORCELAIN' by Seveme

Mackenna, plate 56, fig. 101)

W. R. HARVEY & Co.

(Antiques) Ltd.

69 CHALK FARM ROAD, LONDON N.W.i

Fine Antique Furniture

Exhibiting at The Chelsea Spring Antiques Fair, Stand No. 9

A superbly patinated Hepplewhite Secretaire. Circa 1780.
Height 37 in. Width 39 in. Depth 26 in.

Members of The British Antique Dealers' Association Ltd.

The Connoisseur, May, 1965

LVI

LEONARD KOETSER GALLERY

SPRING
EXHIBITION

of fine

DUTCH, FLEMISH AND ITALIAN
OLD MASTER PAINTINGS

ist April to 31st May

Daily 10 a.m. - 6 p.m. Saturdays 10 a.m. - 1 p.m.

Cornells de Heem
David Vinckeboons
Johannes Lingelbach
Giov. Dom. Tiepolo
B. van der Ast etc.

Landscapes, Riverscenes, Winterscenes, etc.

Illustrated catalogues 4s. 6d. post Jree

13 Duke Street, St. James's, London S.W.i

Telephone: WHItehall 9348/9

LVII

Salomon van Kuysdael Aert van der Neer

Jacob van Kuysdael Jan van Gojen

Philips Wouwermans David Teniers

Jan Brueghel de Velours Paul Brill

Lucas van Valkenburg Clara Peelers

O'HANA GALLERY

13 CARLOS PLACE GROSVENOR SQUARE LONDON W. 1

GROsvenor 1 562

6th - 29th May

Le Lavoir, Nievre 1906 Oil on canvas 25A x 36 J

4

FIRST LONDON EXHIBITION OF PAINTINGS B'

EMMANUEL DE LA VILLEON

(1 8^8 — 1 944)

The Connoisseur. M.iy, 196s LVIII

O'HANA GALLERY

15 CARLOS PLACE GROSVENOR SQUARE LONDON W. 1

GROsvenor 1 jf»2

Opening 10th June

1965 SUMMER EXHIBITION
RENCH MASTERS OF THE 19™ AND 20™ CENTURIES

LK

PRIDES of
LONDON LTD

Members of The British Antique Dealers' Association Ltd.

An important mid 18th Century bookcase of finely
figured mahogany, the glazed top section having a
carved and pierced swan neck cornice, the serpen-
tine lower section with a drawer over a pair of pan-
elled doors enclosing 2 long and 2 short drawers.
Width 3 ft. 8 in.

179/180 SLOANE STREET, S.W.I

Tel: BELgravia 3080

A pair of 19th Century finely worked gold earrings of
ancient design by the famous jeweller Castellani.
Actual size

FOR FINE CRAFTSMANSHIP
IN JEWELLERY OF EVERY AGE

CAMEO CORNER

26 MUSEUM STREET, LONDON, W.C.I

MUSeum 0401 Weekdays 9a.m.-5p.m.

Thursday until 6.30 p.m. Saturday closed all day

SEND FOR ILLUSTRATED BROCHURE 'C

Made specially for
Antiques by Goddards

- # God ciarcis vi ~.
* si Creamed

for fine furniture ana katli

These unique polishes are made from a formula handed down
through generations and known only to Goddards. They have
remarkable cleansing qualities; give a rich patina rather than
high gloss. Both polishes maintain the condition of the finest
woods. Available at leading stores.

J. Goddard & Sons, Ltd.

By appointment to Her Majesty Queen Elizabeth II, Mlrs. oi Silver Polishes. J. Goddard 4 Sons, Ltd.
Nelson Street. Leicester. 299 Madison Avenue, New York 10017, New York.

The Connoisseur, May, 1965

LX

Miss Peggy Hopkins Joyce

1925

By

R WMOND PERRY ROGERS NEILSON, \. \.
(1881 - 1964)

Price: $25,000.00

Height : M) inches
Width: 50 inches

The glitter and excitement of the vibrant twenties was vividly recorded by Neilson in his
brilliant interpretation of the fabled beauty w ho was the absolute embodiment of the
glamor pervading this colorful era.

Raymond P. P.. Neilson rendered with skill and keen perception, the luminaries and
personalities in society, government, industry, and the arts.

The works of this great portraitist furnish a significant commentary on American life
during his long and distinguished career.

Madison Avenue

ROSS L. PEACOCK

791 MADISON AVENUE at 67th Street

REgent 7-3400

NEW YORK 1 1

N.Y.

LXI

D. & J. Wellby Limited,

(late 1 8 & ZO, Garrick Street, London, W.C.I.)

incorporating Bos we 11 & Ward

?0, Dover Street, Piccadilly, London, W.X. HYDe Park Oj6j.
Founded by John Wellby in l8zo.

Antique garnet & gold suite. Circa 1800.

SPRING
ANTIQUES
FAIR

To be opened by
Sir Gerald Nabarro
at 2 p.m. May 5th

CHELSEA
OLD TOWN
HALL

MAY 5th to MAY 15th
Open 11 a.m.— 7.30 p m
Excluding Sundays

S LP AWE SQ.

OR SOUTH KENSINGTON

The Connoisseur, May, 1965

LXII

BY APPOINTMENT
DEALERS IN ANTIQUE FURNITURE AND WORKS OF ART
TO THE LATE QUEEN MARY

M. Harris & Sons

ESTABLISHED 1868

A fine pair of Regency rosewood open Dwarf Bookshelves with brass mounts on the turned supports.
Width: 3 ft. in. Depth: lOi in. Height: 2 ft. 11 in.

44/52 New Oxford Street, London W.C.i

Telephone: Museum 2121 Telegrams: Artisonne London WC1

Under the patronage of HM Queen Elizabeth the Queen Mother

dealers fair
^exhibition

J|r%_ Q O/i 9 JUNE 5-7 30 PM 10-24 JUNE
UnC <J-£.LT 11 AM-7 30 PM EXCEPT SUNDAYS

Grosvenor House PARK LANE LONDON

silver jubilee fair

Lovers of beautiful things find
Maples Antique Galleries both fascinating and rewarding.
A remarkable collection of Antiques of every
description is to be found here-in fact, one of the
most comprehensive selections in London.

Valuation for Insurance and Probate

MAPLE & CO. LTD.

Member of the British Antique Dealers Assoc. Ltd.

TOTTENHAM COURT ROAD, LONDON, W.I. TEL: EUS 7000

The Connoisseur, May, 1965

LXIV

George I Strawberry Dish
Dublin 1715 by Anthony Stanley
diameter 9 inches

i s KING STREET • ST. JAMES'S • LONDON S.W.i

WHITEHALL 6463

Directoire settee infruitwood
66 in. wide, 25 in. deep. 36 in. high

MERRYVALE

Antiques and Gardens

Open Monday through Friday 9 to 5.30 Tel. JOrdan 7-0615

36 40 BUCHANAN STREET, SAN FRANCISCO 2 3. CALIFORNIA

pierre nuilisse qallvry

R ft 1 thus

Jf tie 1 ver

Cull i tf a tt tt i s

Bu buffet

River ft

it i r o

#> e V o r h tt s i er

f f i ope He

S tt it r «

it i 11 tt res

Butler

If tt r i tt i

Gitteontetti

R o s z ft l«*

41 East 57th Street, New York 22, N.Y.

You must have the 1965/1966
INTERNATIONAL
ANTIQUES YEARBOOK

Edited by Philip Wilson

Articles: Art Sales (Reitlinger), Early Furniture
(Wolsey) Silver Bibliography (Delieb), Glass (Howard
Phillips) and Victoriana (Violet Wood).

# Information: Directories of Dealers throughout
Britain, Europe and New York.

Improvements: Now 1032 pages including 26 street
maps of towns, 24 pages of British road maps and
introducing colour illustrations.

Published on 3rd May, 21s.

ffl JWmijate &JohnstonTIJtcl

Established i8ij

Head office:

39/45 FINSBURY SQUARE, LONDON, E.C.2
also at:

LIVERPOOL-MANCHESTER -SOUTHAMPTON
BELFAST - PARIS - NEWCASTLE - GLASGOW
TORONTO - NEW YORK - MONTREAL - LEEDS
LEICESTER

CONNECTING WITH A NETWORK OF RELIABLE AGENTS OVERSEAS

The Connoisseur, May, 1965

LXYI

A rare carved Pinewood
Chimneypiece in the French manner.
English mid 1 8th Century.

Length of Shelf
Total height
Opening width
Opening height

S 7

9 * //

4 2

! si

T. CROWTHER & SON

(T. CROWTHER & SON LTD)
282 NORTH END ROAD, FULHAM, LONDON, S.W.6

Telephone: hUL 137J-7 Grams: Antiquity, London

rlease note: we close 1.0 p.m. Saturdays

Cyril Humphris

LTD.

BIRDCATCHER
Bronze
Height: 36 cm.
Giovanni da Bologna
Late 16th earlv 17th Century

23 OLD BOND STREET, LONDON W.l

MAYfair 6240

GREGORY & CO.

(BRUTON STREET) LTD. ESTABLISHED 1823

Telephones: Mayfair 2608/9/0, 2066

27 BRUTON ST., BERKELEY SQUARE
LONDON, W.l

Telegrams: Gregco, Wesdo London

ANTIQUES
FURNITURE
U P HO L S T E R Y
CURTAINS
C A R P E T S
CHANDELIER S

DESIGNS & SCHEMES
BOARD ROOMS
DIRECTORS' SUITES
DECORA T I ONS
ELECTRICAL IVORKS
H E A TING

VALUATIONS

A fine small faded mahogany serpentine side table c. 1770
Length 4 ft. 4 in. Depth 2 ft. Height 2 ft. 11 in.

A late Louis XV panel of tapestry

A pair of Chinese yellow vases as lamps

A pair of early 19th Century Sevres vases with covers

The Connoisseur, May, 1965

LXVIII

BY APPOINTMENT ANTIQUARIES OF CHINESE WORKS OF ART
TO H M THE KING OF SWEDEN

BLUETT & SONS

Oriental (liorfes of art

Ancient bronze horse-bit with cheek-pieces in the form of vigorously modelled stylized horses.
From Luristan: 1st Millenium B.C. Overall width: 8 in. Height: 5j in.

Luristan. situated to the East of the Tigris, is a mountainous
province composed of parallel chains of the Zagros Mountains
interspersed with long narrow valleys, the latter only suitable
for rough pasturage. Thus it was that the tribes of Lurs who
inhabited the region in ancient times were of tough, warlike
disposition, whose livelihood was closely connected with the
country in which they lived, namely the breeding of horses.

The rough valleys proved ideally suited for this purpose and
Luristan steeds were highlv prized far beyond their mountain
fastnesses, bringing wealth to the nomads. Indeed the renown-
ed Nisaean horses are sometimes thought to be of the same
breed.

As a result of this preoccupation w ith horses the art forms to

be found in Luristan. and more especially the bronzes, closely
follow their equine progenitors and reached their zenith during
the 1st Millenium B.C. both in variety of form as well as in
actual manufacture. The most abundant bronzes being those
made for the embellishment of the harnesses and fitments for
the chariots, which played such an important part in the daily
lives of the Lurs.

The bronze bit with the well defined horses' heads which we
illustrate comes from this high period of Luristan bronze
forms and clearly shows the excellence of their work. Of
interest in this context is a bas-relief dating from 669-627
B.C. from Asherbanipals. to be found in the British Museum,
which portrays a similar bit in actual use.

48 Davies Street, Brook Street, London, W.i

Cables: "Chineceram, London-W.l" Telephone: MAYFAIR 4018

Members of The British Antique Dealers' Association Ltd.

LXIX

AMERICA co ASIA
EXHIBITION

OF ANCIENT POTTERY

18 th May - 2 8 ih June
10-12 am - 2 - 6.30 pm.

ft * MkJK

C.T. LOO&CIE

LE CORNEURROUDILLON
MICHEL BEURDELEY

48, Rue de Courcelles

PARIS

Adam period Carton Pierre gilt mirror. Circa 1770
Size: 4 ft. II in. high 3 ft. 3 in. wide

HARRODS

ANTIQUE GALLERIES, THIRD FLOOR
Member of The British Antique Dealers Association

HARRODS LTD KNIGHTSBRIDGE LONDON SWI

Tel SLOane 1234

TELEX 24319

UAV

GALLERIES

RAOUL DUFY

Le Modele dans V Atelier
15x18 inches

9 East 57th Street NEW YORK

Tel: PLAZA 3-1296

1

RALPH
GOX

(Member of B A D A.)

OLD GREETHAM INN
STRETTON, RUTLAND
Castle Bytham 340

Exhibiting at the
Chelsea Spring
Antiques Fair. Stand

No. 6 May 5th - 1 5th

Oak

English 16th Century
Width 25 in.

Also at 39 STEEP HILL. LINCOLN Tel : 22463

I Antique Silver

HARRY

\ Sheffield Plate

CHERNACK

; Antique Jewellery

of Edinburgh

85 ROSE STREET

PHONE CAL 3038

Member of The British Antique Dealers Association i

t !

0

ne of a pair of Louis XVI
banquettes with fluted
legs and apron. Covered
in blue velours presse.
Circa 1780

Antiques Interiors

RICHARD V HARE

927 MADISON AVENUE, NEW YORK, NEW YORK 10021 (212) UN 1-6910

The Connoisseur, May, 1965

LXX1I

J. B. C. COROT

Limay, Pies Mantes
Rosee Du Matin
Painted: 1872

Recorded: Robaut
Vol. Ill, No. 2065

Oil on canvas

17 X 24 inches

HIRSCHLl'AHLER

or //<y^^ed owe,

21 E. 67th St. • NY 21 • IE5-88K

Members of The British
Antique Dealers' Association Ltd.

Open all day on Saturdays

BIGGS

MAIDENHEAD

ESTABLISHED 1866

Six showrooms of
antique furniture and silvei
besides modern departments

Pair of George II silver sauce boats
by Richard Zouch, London 1738, weight 22} oz.

26, 28, 30, 32 HIGH STREET

MAIDENHEAD

BERKSHIRE

TEL. (3 LINES) 22923, 26363/4

LXXH1

Ferdinand Reichardt Summer Scene at Crystal Beach Lake Erie
Oil on Canvas 36 X 64 inches Signed lower right 'Ferd Richardt'
This interesting and documentary painting from the brush of the Danish artist, who painted some remarkable American Views of major importance.

Kennedy Galleries, inc.

Founded 1S74 by H. Wunderlich

13 East 58th Street • New York 22, N.Y.

KNOEDLER

Established 1846

Old and Contemporary' Masters

LONDON

34 St. James's Street
S.W.i

NEW YORK

1 4 Fast 57th Street
N.Y. 10022

PARIS

8 r; bis rue du Faubourg
St. Honore 8e

t

HUBERT ROBERT (1733-1808) Terrace of a Roman Villa'
Panel, 22.7 by 29.8 cm. Initialed H. R. on a stone in the left foreground.

MASTER PAINTINGS and DRAWINGS

OF THE XVII Ith CENTURY

CAILLEUX

136, FAUBOURG SAINT-HONOR^ — Tel: 359- 25- 24

PARIS

Gallery Lasson

57 Jcrmyn Street London SWi Mayfair 6981

Gillis Claesz de Hondecoeter 1 575 — 1638 Panel, 8 X 14 in. (20-5 X 35-7 cm.)

Signed with monogram

Franciscus Carree 1630 -1669 Canvas 22J x 3 if in. (56-5 x 80-7 cm.)

Signed

Old Master Exhibition

Extended until May 29th

Including works by Giovanni Antonio Pellegrini, Giuseppe Recco, Pietcr van Bloemen, Balthasar van der Ast,
Viviano Codazzi, Cornells van Poclenburgh, Joseph Heinz the Elder, Willem Frederik van Royen, Pieter van Noort,
Alessandro Magnasco (attributed), Nicolaes Maes, Francois Boucher, Dirk Hals, Jan van Kessel, Jan Antonisz van
Ravestevn, Domenico Corvi, Pierre Gobert and Jacob van Ruisdael.

SILVER - OLD WATCHES

. KUGEL

7, RUE DE LA PAIX, PARIS

Tel: OPE 61.04

D BOXES

RARE OB JETS DE VERTU

EASTERN FRANCE
18th century

ROUEN. 1760
by P. LAMOUREUX

PARIS, 1780 by A. LOQUE
Dish, PARIS. 1768 by L. CHAROMAT

PARIS. 1777 by
J. DEBRIE

PARIS. 1734 by
C. A. MOULINEAU*

PARIS. 1745 by A. LOIR. Branches. PARIS. 1748

PARIS. 1739 by F. RIGAL

PARIS. 1745 by A. LOIR. Branches. PARIS. 1748

MONTPELLIER by M. BAZILLE

MONTPELLIER 18th century LE MANS. 1764 by M. LACHESE" NANCY. 1715 by F. MOUGENT

• REPRODUCED IN -THREE CENTURIES OF FRENCH DOMESTIC SILVER" BY FAITH DENNIS No. 259
•* REPRODUCED IN -THREE CENTURIES OF FRENCH DOMESTIC SILVER" 8Y FAITH DENNIS No. 570

MONTPELLIER by M. BAZILLE

17th CENTURY SILVER

1. Antique silver tankard, Charles II, London 1681-2.
Maker*s mark I.S. cinquefoil below (Jackson Page 139)
Height 5 A in. Weight 21 oz.

I

2. Antique silver tankard, James II, London 1688-9.
Maker"s mark T.G. in circle
Height 5i in. Weight 22 oz.

Pair of rare James II drinking cups of small size, London 1686-7.
Makefs mark P.M. between stars
Height 21 in. Weight 10 oz.

Rare antique English Provincial silver tankard by Marmaduke Best. ,
Charles II, York 1664-5.
Height 51 in. Weight 23 oz.

We shall he happy to answer your enquiries and to give you details of the Silver

from the Collection of

LOUIS WINE lLd

Fine Art Dealers. Jewellers and Silversmiths

31 & 32 GRAFTON STREET, DUBLIN

Established 1840

Tel: Dublin 73865

PIERO TOZZI GALLERIES

» ES: PIERTOZZI NEW YORK

137 EAST 57th STREET NEW YORK 22, N.Y.

TEL: PLAZA 3-9189

DENYS WREY Ltd. 45 SLOANE STREET LONDON S.W.I

Members of The British Antique Dealers Association

Telephone: BELgravia 1813,14

Period Furniture

Works of Art
Expert Restoration
of Antiques

An important 18th Century
kingvvood Commode, probably
Austrian, in mint condition
and having 18th Century
Siena marble top. Both front
and sides of serpentine and
bombe shape with overall
measurements of length 5 ft.,
depth 2 ft. 4 in., height 3 ft.

WE ARE ALWAYS ANXIOUS
TO BUY FINE ENGLISH
ANTIQUE FURNITURE

MAYORCAS Ltd

Member of the BAD A Ltd

ENGLISH, CHARLES II STUMPWORK CASKET, circa 1660.
1H in. wide, 12 in. high, 9 in. deep.
Original and intact, with inkbottles, drawers and 'secret' drawers.
Stump and laid-stitch embroidery on ivory satin ground, depicting
scenes from 'The Story of Isaac', in soft, pale colours.

38 Jermyn St., St. James's, London S.W.l

MAYfair 4195

TROSBY

GALLERIES

AUCTIONEERS

OF PALM BEACH, FLORIDA
NOW ACCEPTING CONSIGNMENTS

FOR THE

1965-'66 AUCTION SEASON

EXPERT
APPRAISAL SERVICE ON
ART & PERIOD FURNISHINGS

OUR COMMISSION CHARGE ON ALL
MAJOR COLLECTIONS IS EXACTLY
TEN (10) PERCENT

For Appointment Please Write

TROSBY

INC

APPRAISAL DEPARTMENT
211 ROYAL POINCIANA WAY. PALM BEACH, FLA.
CABLE TROSART
Telephone (Area Code 305) 833-1650 and 833-4101

MILTON E. FRESHMAN. President

The Connoisseur, May, 1965

LXXVIII

NEWHOUSE GALLERIES

ESTABLISHED 1878

FINE PAINTINGS

15 East 57th Street

PLAZA 5-4980

New York, N.Y.

EXHIBITION:

PORTRAITS IN REVIEW
1964-1965

MAY 12th-26th

PORTRAITS, INC.

PORTRAIT CENTER OF AMERICA

136 EAST 57th STREET, NEW YORK 22, N.Y.

bxnettj /^^\ ftn^ ^Oct^ie& ant/ ■ ^z/ied fated

Pere z

112 & 168 BROMPTON ROAD,
LONDON S.W.3

Telephone - KENsington 4411 (4 lines)
Telegraphic Address 'CARPEREZET'

also PARK STREET, BRISTOL
and AMSTERDAM

Antique Oushak Holbein catpet. Late l6th
Century. Size : 8 ft. 6 in. X 5 ft. 4 in.

Ref. No. 52625.

The permanent Exhibition Rooms at 112 Brompton Road feature a large selection of Antique and Old Oriental Carpets
and Rugs, Tapestries, Aubussons, Savonneries and Needleworks. Wall to wall carpeting and Broadlooms in exclusive

plain colours are available at 168 Brompton Road.

Perez (Contracts) Ltd. will attend to enquiries from the trade.

The Connoisseur, May, 1965

LXXX

DAVID BLACK & SONS

BERNARD BLACK GALLERY

1 Burlington Gardens,

1062 Madison Avenue,

New Bond Street W.l

New York 21

(Associate: HUGUES W. NADEAU)

FINE ANTIQUE ENGLISH AND
CONTINENTAL SILVER
Olt.JETS DE \ERTU AND WORKS OF ART.

AMERICAN PAINTINGS AND DRAWINGS
OF THE 19th AND EARLY 20th CENTURIES
SCULPTURE AND WORKS OF ART
OF ALL PERIODS.

Telephone: HYUe Park 3851

Telephone: Trafalgar 9-2171

We are always desirous of purchasing any of
the above-mentioned works of art.

One of a pair —
French 18th century
console tables,
painted gray
and marble tops

34 inches high
30 inches wide
18 inches deep

Mcdonald & boerth
PROVENCE ANTIQUES

27 EAST 67TH STREET
NEW YORK 21, N.Y.

BUtterfield 8-5179

LXXX1

TO OUR OVERSEAS FRIENDS

The British Antique Dealers' Association has nearly 550 members throughout the British Isles — each happy to advise visitors ol
the quality, authenticity and value of the antiques they wish to choose.

All members are highly skilled in their respective fields and the Association forms the greatest bodv of expert knowledge in thl
world. That knowledge and care comes from living and trading in a land famous as the treasure house of the craftsmanship ol

the ages.

There is always a welcome to visitors to Britain's stately homes, housing some of the world's finest collections of antiques]
Members of the Association will advise where these collections can be seen.

The Association makes a major contribution towards enhancing Britain's reputation as the centre of the international art marked
Its membership is subject to stringent and continued scrutiny.

The Association is the official body for the certification of antiques to certain Commonwealth and foreign countries and helps to
secure duty-free imports of such antiques from Britain into these countries.

THE BRITISH ANTIQUE DEALERS' ASSOCIATION

20 RUTLAND GATE, LONDON, S.W.7
Kensington 4128 & 2102

The Connoisseur, May, 1065

LXXXI1

Showing the fine carved
detail on the canted sides

Magnificent 18th century
Chippendale serpentine Commode

of unusual size; over-all length 52 inches
England, circa 1750

59 East 57th Street, New York 22, N.Y. EL 5-7620

MEMBER OF NEW YORK ANTIQUE AND ART DEALERS ASSOCIATION

6^ne of a pair of fine small
French chairs. Beautifully
carved in fruitwood
with caned backs and seats.
Extreme width 28 inches, extreme height 31 inches.

Knioy good food in Science Hill Inn
Both Gallery anil Inn
located in Historic Science Hill

Franchised dealers for Doughty,
Boehm and Chelsea birds

VISIT OUR SUBTERRANEAN SILVER VAULT
Open every day 9 a.m. -5 p.m. Closed Sundays
Telephone: (502) ME3-4382

Wakefield-Scearce Galleries

DIRECT IMPORTERS

Historic Science Hill Shelbyville, Kentucky

on BOTH main roads (U.S. 60 and 1-64) between Louisville
and Lexington

'American Indian Fantasy' (Agatized Coral)

MIRIAM ROGERS

EXHIBITION

May 12-29

VAN DIEMEN-LILIENFELD

GALLERIES

21 East 57th Street NEW YORK

RESERVED FOR THE EXCLUSIVE USE
OF ART LOVERS AND COLLECTORS

THE GUIDE EMER

EUROPE'S LEADING DIRECTORY

1965-1966

50.000 names and addresses of
Antique Dealers, Picture Galleries,
\ii Experts, Flea Markets. Fairs, Exhibitions

Classified in
Countries, Towns. Cities, Streets
and Specialities

In two volumes Price 45/- Post paid

Available from:
G.& F. GILLINGHAM LTD.
4 CREDITON HILL, HAMPSTEAD
LONDON, N.W.6

Telephone: Hampstead 5644
EVERYBODY'S KEY TO THE TREASURE HOUSES OF EUROPE

The Connoisseur, May, 1965

LXXXIV

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Connoisseur Editorial

rHE FRIGID GALLERY

N a spirited and admirable philippic in a recent issue of the
Museums Journal, Mr. Charles Gibbs-Smith raked with gunfire
e abvsmal public relations existing in certain British public art
useums. This most understanding Public Relations official at
e Victoria and Albert Museum naturally acknowledges the
ining exceptions. But his whole concern is over those museum
iffs — from the Director down to the doorkeeper — who convey
e impression of simply not caring about the public, or rather the
aety-nine per cent of the public which is left over after the staff
is seen its favourites.

It is unhappily true that almost all enquiring visitors have bitter
emorics of the impregnable remoteness of some curator who
ill not be seen. Such indifference spreads to the uniformed
ardors. How often the enquirer with a genuine problem will be
rected, with a mechanical jerk of the thumb, to 'that gentleman
/er there' — meaning another grizzled veteran with more cam-
ugn ribbons and an inbuilt suspicion. The old barrack-room
wept 'Never commit yourself and the powers can't fasten any-
ting on you' still lingers even among some janitors of our fam-
us museums with their flow of eager, intelligent foreign visitors,
here is an obvious need for more careful selection and training
ere. There is an even greater need for those Directors who lack
le human touch to realise — as Mr. Gibbs-Smith points out —
lat any manifestation of non-co-operation or bad manners will
)read by word of mouth far and wide, to the museum's lasting
iscredit.

Most disturbing perhaps (since we ourselves have strong evi-
er.ee to support his contention) is Mr. Gibbs-Smith's conviction
lat at the root of the trouble is the increasing concern of rising
oung museum officials for their professional status-symbol,
"heir precious art-historical research will assume such an im-
'ortance that any tap on the door and message sent in from some-
me outside becomes an irritating and irrelevant distraction. The
iresome outsider might be a professor from the Sorbonne, or
lerhaps an eminent Swiss connoisseur on a flying visit with just
lfteen minutes to spare of which ten have already been wasted in
ruitless parley downstairs. The egg-head probably won't recog-
use the person's name anyway — or receive some garbled message
)f his business — and the attitude in a bad museum will certainly
)e to fob him off with some plausible excuse. An exaggerated
acture? Unquestionably it contains the essence of a widespread
ailure which Mr. Gibbs-Smith has the courage to bring home to
nembers of his own Association. And the moral is unmistakable.
It is too often forgotten', he remarks truly, 'that in art museums
.ne provision of enjoyment and interest for the visitor is the over-

riding justification for their existence; not education in a formal
or technical sense. In fact, the study of art history — now that it
has become academically respectable — is itself in danger of losing
its sense of proportion, of losing what ought to be the touchstone
of its existence'.

Now Mr. Gibbs-Smith is on absolutely sure ground in remind-
ing staffs employed in the public service of their primary duty to
day-to-day visitors. But a more difficult question arises in the case
of dealers' art galleries, with which he is not concerned. Has the
private gallery any moral obligation, in fact, towards the ordin-
ary non-picture-buying public at large? We must remember that
a dealer's art shop is his business; and his first concern is neces-
sarily to cultivate his own chents, and court the art critics in ex-
pectation of publicity. But in the more enhghtened dealers'
galleries it is also the accepted thing that the uninitiated visitor
from the street should be given a smile and ready assistance if
needed. Courtesy must always redound to a gallery's credit.
Unexpected custom can flow from it too. It is fair to say that in
Mayfair's Cork Street (to take an example) a total stranger may
presently feel at ease in any one of the discreetly friendly galleries
down its length.

But elsewhere, in the more formidable emporiums about Bond
Street? There comes to mind the true story of an executive who
once suggested to his paper's regular art critic that he might write
a popular piece on the unnerving effect on any stray visitor of
such glacial and expensive saloons. There was a pregnant silence.
'But my d-dear fellow', protested the critic, with his endearing
stammer 'they scare the w-wits out of me too!'. Perhaps our
confrere had in mind one of those hushed chambers hung with
valuable Impressionist paintings where the oppressive silence is
only interrupted by an electric typewriter or the occasional rustle
of the Times newspaper guarding the unseen presence behind the
ornate desk. But more alarming to the absolute beginner is the
whispering conclave of inscrutable dignitaries in quasi-morning
coats who may seem to his agitated senses to be stealthily follow-
ing Ins every movement. Then indeed, as the poor fellow turns
tail, will appear to him the apocalyptic vision in The Revelation:
'And in the midst of the throne, and round about the throne, were
four beasts full of eyes before and behind !'.

It seems clear that there are quite a lot of Directors in the West
End galleries who might profitably disengage themselves from
the Times, and turn to something else more pertinent. May we
suggest that trenchant and salutary article in the Museums Journal
with its counsel of friendliness which they might equally and
with advantage take to heart »

i

Gatewick

The Steyning, Sussex, home of Mr. & Mrs. David Yorke *

CLIFFORD MUSGRAVE

IF the present owner of Gatewick had lived in the time of his
ancestor, the first Earl of Hardwicke and Lord High Chancellor
of England, he would undoubtedly have been one of the most
active and enthusiastic members of Lord Burlington's circle of
architectural amateurs, and perhaps a member of some such
'committee of taste' as the one which advised Lord Lyttelton in
the designing of Hagley Hall.

The present times do not favour private building enterprises
on the scale of the Palladian mansions of the early eighteenth
century. But when, in 1953, Mr. and Mrs. Yorkc settled in
Sussex, they chose an early Georgian farmhouse that was not
only conveniently adaptable to modern domestic life, but cap-
able of 'improvement' in the 'Picturesque' as well as the utilitarian
sense.

The appeal of Gatewick, however, docs not depend entirely
on its Georgian features, whether inherent or applied. It is a house
of great charm and character, parts of the structure dating back to
Elizabethan times. Although the literal meaning of the Saxon
name 'Gat Wic' is 'Goat Farm', it is as a mill that the property
first appears in authentic records; for it was the mill in the Gate-
wick enclosure that is referred to in a document drawn up bet-
ween the years 1 189 and 1219, by which 'the mill by the church
of Staninges' was granted by Ralph, Abbot of Fecamp to a
family who by 1 1 95 seem to have taken the name of 'de Gatewyk'.
A water-mill survived on the estate until 1878, when it was
demolished. Much earlier, in legendary times, the place may have
been the farm where the Widow Fippa lived with her two sons
who hindered St.Cuthman in his work of building the first church
at Steyning by seizing his draught-oxen and shutting them up in
their farmyard. They were punished by being struck by lightning
from Heaven. Members of the Gatewyk family occupied im-
portant positions in Church and State until 14 17, when the prop-
erty passed to the family of Farncfold, who were influential in
Sussex for many generations, charities founded by them in
Elizabethan days being still beneficial in Steyning.

Gatewick knew great prosperity in Elizabethan and Jacobean
times, but it was probably in the middle of the eighteenth century
that the house achieved its highest consequence; for it would
appear that it was at this time that the flint-walled tower-like
feature on the left of the house and the quaint stone gateway and
piers before the house were erected. It may have been to give
some architectural significance to the name of the property that
this feature was installed. It was possibly brought from some
Jacobean building then being demolished, such as Slaugham
Place ten miles away, to judge from its early seventeenth-century
classical character. It is inscribed in the pediment with the initials
R.B. 1749 and in the spandrels of the arch E.B. and V.B. These
refer no doubt to members of the Barnard family who were in
ownership in 1679 and afterwards.

In the early nineteenth century the house displayed many of the
features of a cottage omc in the best tradition of the Picturesque,

1. Gatewick in the early nineteenth century. The original Tudor bri
chimneys, arched brickwork screen and rustic stable-buildings gave t
house the character of a cottage orne that was highly fashionable during t
Regency period.

2. Gatewick in Edwardian days. The gable roofs, crocketed barge-boarc
and heavy creeper bestowed upon the house the sleepy appearance of
Victorian rectory.

more through its possession of genuine early features such as ta.
Tudor brick chimneys, Horsham stone roof, and an arched brie)
work screen than through the efforts of a fashionable improvei
In 1855 the property passed to the Rev. John Goring, and it wa
probably during his ownership that it assumed the appearance o
a respectable Victorian vicarage, with gables and crocketec

Jatewick in 1953. By this date the roof had been restored to its original
tn with Sussex tiles instead of slates. The crude mock-Tudor porch had
n installed in the 1930's, when also the brickwork of the house was paint-
to represent quoins and timbering.

-gc-boards. These had vanished by modern times but a clumsy
K'k Tudor arched porch installed about 1935 now seemed es-
rially obtrusive because of the absence of a dense growth of
I Kealing creeper.
Although Mr. Yorke had trained for the law and was called
the Bar in 1949, when in 1953 he decided to bring out to the
lest extent the Georgian character of the house and its sur-
liidings, he was able to draw upon an unusually deep knowledge
eighteenth-century architecture and decoration. His father was
: Hon. Claud John Yorke, a distinguished architect who car-
d out important public works in Cairo between 1895 and 1910.
■ restored Theobald's Park, Hertfordshire, where old Temple
r stands as the entrance gateway of the park, and also re-
>rcd Derby House in Grosvenor Square, London. C. J. Yorke
is a perceptive collector of early Georgian furniture, and an
lent champion of William Kent and the Burlingtonians at a
ne when the Palladians were very much under a cloud. With
;ntian console-tables and tabernacle chimney-pieces, his
mdon house presented a Palladian appearance that was remark-
le in the Edwardian age. This ambience must have been an
ective influence in the future restoration of Gatewick.
The principal part of the grounds lies in front of the house, and
re the lay-out is like Rousham in petto; a stream which at one
ne drove the mill now being made to fall in a cascade from an
ch with a keystone carved with the head of a river god, through
little ravine that has been given the wild character of William
'cnt's early garden effects.

! The front of the house is now severely Georgian, Tudor drip-
' ouldings having been removed and the long eighteenth-century
sh-windows allowed to have their full effect. The crude mock-
udor porch was replaced with a scholarly copy of a late-Geor-
an porch from a Downing Street house which is preserved at
e Victoria and Albert Museum. To the right of the house the
i 'ry rustic-looking arched brick screen has been removed,
Jening up the front of the side wing, which has also been given
more appropriate door, leading into Mr. Yorke's study. To the
ght the early stable buildings have been restored and given

4. Gatewick in 1965. The early stable-buildings to the right have been re-
stored and given battlements to correspond with the seventeenth-century
turreted addition to the left. The Georgian Gothic windows were taken
from Craigwell House, near Bognor. A scholarly Palladian doorway now
replaces the clumsy mock Tudor porch of the 1930's.

5. The Gateway at Gatewick. The date 1749 which it bears may be that of its
installation. It could have been brought from a demolished Jacobean
mansion, such as Slaugham Place, ten miles away.

battlements to correspond with those on the early flint-walled
tower-like feature at the farther end of the house. Delightful
Georgian Gothic windows have also been added.

The interior presents a scene of the utmost sophistication and
elegance, as though a breath of air from Holkham or Chiswick
had entered the house of a sturdy Sussex yeoman. On the left is a
magnificent gilt console-table with supports in the form of
figures apparently of Time Conquered by Cupid. This represents
the true Baroque spirit in early Georgian furniture, the bold
masses in a state of abandon and energetic movement. Confront-
ing it is a gilt console-table, hardly less fine, with supports in the
form of Roman eagles, their more tightly integrated form ex-

3

6. The Entrance Hall. The magnificent gilt console-table expresses the full
baroque taste of the early Georgian era. The London street scene of the
Monument from Gracechurch Street is by William Marlow (1740-1813).
The marble bust is of the nth Duke of Hamilton.

i

i

1

1

7. The Entrance Hall. In the Regency period a mirror was fitted to the t:k
of this console-table of the William Kent school, to bring it into line a±
the fashion for looking-glasses 'to enlarge the apparent dimension if

8. Left. The Entrance Hall. Recesses in the walls have been glazed to fdn
display cupboards, containing Meissen porcelain figures modelled v
Kaendler, Hochst figures modelled by Melchior, and figures and group)!"
Chelsea and Derby.

9. Facing, above. The Dining Room. Walls covered with wall-paper in A
tation of a rich blue self-stripe watered silk, and white paint, make a su:
tuous background for Kentian side-tables, Hepplewhite sideboard
urns and Regency dining chairs and table.

10. Facing, below. The Drawing Room, with its original early Georgn
dado-panelling, is the setting for French and English eighteenth-cent
furniture. Portraits of Mrs. Yorke and her children by Claude Harrin
complete the family record.

pressing the disciplined nco-classic approach that was to
developed in revolutionary fashion by Robert Adam in the 1
eighteenth century, but was being anticipated in such pieces
these by Kent and Flitcroft early in the century.

In the Dining Room (see colour plate) to the left of the Ha'i
self-striped blue wall-paper in imitation of watered silk, and will
paint provide a sumptuous setting for an Adam sideboard al
pedestals, small Kentian console-tables from C. J. Yorks
London house, and Regency chairs.

Across the Hall is the Drawing Room (sec colour plate), wh
the walls are covered with a fawn wall-paper of a streaky texti i
giving the impression of plain silk, and forming a recessive bac
ground for family portraits and furniture of high quality. T
room is dominated by William Hoare's portrait of Philip Yor
first Earl of Hardwickc and Lord High Chancellor to George!

4

II. The Drawing Room. Above the Regency marble fireplace hangs Rom-
ney's portrait of Midshipman Sydney Yorke. It is flanked by Catherine
Reed's pastels of Mrs. Charles Yorke and her sister Lady Beauchamp.
Underneath these are pastel replicas of famous Reynolds originals executed
by the young man's mother, Mrs. Charles Yorke, while having her own
portrait painted by the great master in his studio.

13. The Louis XVI upright secretaire in the Drawing Room is inlaid with
cube marquetry in the manner of J.-B. Tuart (maitre 1760) or I. B. Rebour
(maitre 1767). Above it hangs Claude Harrison's portrait of Mrs. Yorke.

12. Romney's portrait of Joseph Sydney Yorke when a midshipman at
age of thirteen. The date commemorates the victorious action against
French fleet off" Dominica in the West Indies, in which he was engagl
while serving in the Formidable. He was later knighted and became Admi [
of the Home Fleet.

and George III. His persisting impact upon life today is that
brought about the Marriage Act of 1754 which provides f
banns to be read three times before a wedding. Above the chir
ney-piece hangs an attractive and lively portrait by Romney
Sir Joseph Sydney Yorke as a midshipman at the age of thirtee
painted to celebrate his participation in a successful naval bati
in the Formidable against the French in the West Indies. Anoth
Romney portrait is of Mrs. Rattray, whose daughter became
Joseph's first wife, and whose son, a member of the East Inc
Company, founded the famous cavalry regiment known
Rattray's Sikhs.

On either side of the midshipman's portrait hang Catherii
Reed's pastels of Sir Joseph's mother, Mrs. Charles Yorke, and h
sister Lady Beauchamp. Beneath them hang oval pastels of tl
Girl with the Muff, and The Infant Samuel, copied by Mrs. Char!
Yorke from the famous originals by Reynolds while hers<
being painted by the master. Only a nineteenth-century replic
by J. C. Horsley, R.A., of this portrait exists, the original havir
been destroyed by fire. Evidence that the artistic interests oft!
Yorkes are not confined to the past is found in the portraits upc
the opposite wall of Mrs. Yorke and of her two sons by Clauc
Harrison, R.P., a distinguished modern painter whose work
seen elsewhere in the house.

Among the most striking articles of furniture are the Louis X\
marquetry upright secretaire, and a handsome buffet in Lou

6

In Mr. Yorke's Study a flock wall-paper in lemon-yellow makes the
im gay and light. Hogarth's conversation-piece, The Lost Card, or virtue
langer, is a contemporary replica of the original at Goodwood and is
med in a tabernacle overmantel from Mr. C.J. Yorke's London house.

15. The door leading from the Study into the garden is a scholarly Palladian
exercise. On the end wall the portrait of Mr. Simpson of Bradley Hall,
Cumberland, in Van Dyke dress is by Angelica Kauflfmann.

• Portrait by Sir Edward Burne-Jones of his daughter Margaret, wife of
W. MacKail the famous classical scholar, mother of Denis MacKail the
■velist, and grandmother of Mrs. Yorke of Gatewick.

17. This remarkable cabinet, inlaid with elaborate floral marquetry in
ebony, and with ormolu mounts of the highest quality, was displayed at
the Great Exhibition of 1851 and demonstrated the finest craftsmanship of
three nations: English cabinet making, French ormolu, and Italian mar-
quetry.

7

l8. Mr. Yorke's Dressing-room is decorated with a bamboo-pattern wall-
paper reproduced from a Brighton Pavilion original. The gouache paint-
ing is one of a set of Regency replicas of wall-paintings at Herculaneum.
The reticent inlaid mahogany dwarf wardrobe is possibly from the Chip-
pendale workshop.

20. The Loggia or Garden-room has been formed out of the saddle-room
of the early stable-buildings. Within the robust Vanbrughian arch stands
the bust dated 1833, by the sculptor R. W. Sievier of Admiral Sir Joseph
Sydney Yorke, K.C.B., seen earlier as a boy of thirteen in Romney's
portrait. In the Gothic niche the bust is of Charles Philip Yorke, 4th Earl
of Hardwicke, by John Adams Acton.

19. The principal bedroom has original Georgian panelling and a malt
Regency fireplace. Above it hangs Claude Harrison's painting of the Y<«
family at Gatewick.

XIV style, made during the late nineteenth century, but differg
little from early eighteenth-century examples except possibHn
the excellence of its craftsmanship and of its interior as well am
exterior qualities. It is similar to a pair once belonging to Qu n
Mary at Marlborough House.

From the Drawing Room Mr. Yorke's study is reach!,
through a concealed door fronted with imitation books. It is he
that Palladian connoisseurship has been most intensively ex-
cised. The fireplace and overmantel came from C. J. Yorl's
London house, and the four corner-panels of the ceiling we
acquired by him. The two long ceiling-panels of similar characr
were bought by his son, the present owner of Gatewick, at
age of sixteen. The handsome pedimented door with ricy
carved mouldings in cornice and frieze, which leads into e
garden, was modelled upon an example in that famous reposir
of pure Palladian design, Abraham Swan's British Architect^
1745. The door panel contains a trophy of musical instrumds
painted by Claude Harrison, a theme repeated in the ormolu vl:
lights and in the striped flock wall-paper. A brilliant still-lifcn
watercolour by C. J. Yorke, which stands on a nearby tables
mounted within an architectural border copied from the o\
mantel. Returning to the Hall, at the foot of the staircase on
arrested by the wistful, thoughtful face of Margaret Bur -
Jones as a girl, painted by her father the great Pre-Raphae e
artist. She married the distinguished classical scholar J.
MacKail, and was the grandmother of Mrs. Yorke, whose faP'r
was Denis MacKail the novelist.

The staircase itself has been rebuilt with delicate early-Georgn
turned balusters, and the upper landing has been improved by c
addition of a delightful circular skylight that provides an app-
priate crowning feature among the Georgian improvements
the house. The staircase walls are hung with family portraits, s.i
the bedrooms contain further examples of the work of ClaK
Harrison, and a number of interesting articles of furniture ai
objects of art, all of which heighten the Georgian atmosph c
that has been re-created so successfully at Gatewick.

8

(William Hogarth's bicentenary

7a s he a moralist whose weapon was caricature?

JL HULTON

J spite of the late Dr. Antal's monumental study of Hogarth,
wv three vears old, the English cannot be said to be familiar
h their greatest artist. Indifference perhaps has allowed the
r in which the bicentenary of his death falh to go by without
exhibition of his paintings. The Shakespeare celebrations
uld have reminded us that Hogarth's inventive genius owed
taps more to Shakespeare than anyone. The artist's self-
trait at the National Gallery is supported by three volumes
ij of which is the works of Shakespeare. Shakespeare's 'infinite
iety is a constant source of inspiration, mentioned in The
J ilysis of Beauty and clear from the way Hogarth searches out
j racter and his friendship with one of the dramatist's greatest
•rpreters, Garrick. But the concentration on Shakespeare seems
lave put his related spirit out of mind so far as the showing of
paintings is concerned. Such an exhibition in conjunction
h the wide-ranging graphic collection now on view at the
ush Museum until May 2 would have been illuminating,
light also conceivably have made Hogarth popular in Britain,
"he exhibition places Hogarth in his English and European
itexts, showing the work of artists who may be said to have
icipated him, were influenced by him or reached superficially
ilar means of expression as contemporaries. Where Hogarth
.tinged on contemporary society in its culture — the arts, the
*e, music — or its politics, or the Establishment — the Law, the
urch, the Army — there are illuminating illustrations. It will
;ady be clear that this exhibition is most ambitious in its scope,
fact more than 330 items are on view of which perhaps two
rds are the work of Hogarth himself.

.ooking at Hogarth in extetiso and in context the first reaction
perhaps one of astonishment at his powers of invention. Less
Used, until Dr. Antal's study appeared, but here emphatically
nonstrated, is his voracious appetite for ideas, particularly
listic ones, from no matter what quarter. There seem to be
ee main sources on which he drew : English popular themes,
itch or Flemish genre and French illustrators, particularly
Hot and the school of Watteau. Perhaps a fourth could be
led: Italian caricature or rather those artists who extended their
earches into the origins of facial expression of which Leonardo
:S a pioneer. This was a question which seems never to have
t its fascination for Hogarth. So far as the first source goes
)garth was unquestionably familiar with the English broadside

bne are on exhibition) or popular narrative print. His South Sea
bble and the hieroglyph, Some of the Priticipal Inhabitants of ye
0011, landmarks in the development of English political carica-
re, were certainly the issue of English forbears. Francis Barlow,
important figure in English seventeenth-century illustration,
here represented by one of the earliest attempts to present an
iividual type, The Salzbnrger. Drawings of this kind, or the

j ne artist's small-scale satirical designs for plaving cards of

; ents in the Popish Plot, could well have influenced Hogarth.

I ith genre from the Low Countries England was already
niliar from mezzotints executed and published in England but

I. Francis Le Piper. Reading the Sews, pen and wash.

the form had, by Hogarth's time, become indigenous and artists
of Dutch and Flemish extraction, like the Van Heemskercks and
the Laroons, were already depicting scenes of everyday life,
clinicallv observed, of which Hogarth was to emerge as the
supreme master. Another Anglo-Flemish artist, Francis Le Piper's
Reading the News (No. 1) in wit and dash brilliantly anticipates
Hogarth's method. But perhaps more pervading than either of
these influences is that of the Watteau school. Where the
Dutch or Flemish genre artists were more concerned with the
idea of whatever they were depicting, and the English with
realism and perhaps character, the French saw the artistic problem
in terms of movement and the precise disposition of the human
figure. Watteau's precision, in which not only the grouping of
his figures, their attitude and expression, but the folds of the dress
and sheen of the material were of the utmost importance, must
have come as a revelation to Hogarth. The link was Philippe
Merrier, an imitator of Watteau, who became established in
England. Through him engravers of Watteau's work began to be
active here. Hogarth knew them and employed some of them to
engrave his Marriaoe a la Mode. But he also drew from Watteau
more directly, making use perhaps of individual motifs from the
etched Figures de Modes. Looking at an engraving like Watteau's
Depart des Coinediens italiens en 1697 one can see so much that

9

2. Hogarth (?). Study for a Family Group, pen and wash.

3. Hogarth. Head of a Sleeping Child, black chalk heightened with wl>e

'/////(>// . 2(>/v/ /ft'f// ' ^ • ,

4. Hogarth. Simon Fraser, Lord Lovat, etching.

Hogarth was to learn and make special use of. Both at hrr
were artists of the theatre.

Philippe Mercier was to a great degree responsible for malie
the conversation-piece fashionable in England and several x-
amplesof his groups and single figures are on view. Hogarth wAo
prove himself adept in this manner of small-scale portrait
which appealed to the new middle classes as a cheaper form Fa
necessary investment. Here he first made his reputation andie
British Museum owns one of his very rare studies in pen 1;
wash for a family group (No. 2), if indeed it is by Hogarth,x
the late Paul Oppe expressed his doubts about the dravue
(A. P. Oppe, The Drawings of William Hogarth (1948), p. 7,
no. 91). In this respect it is interesting to note how close le
drawing, Peter Motteux and his Family by Giovanni Antcio
Pellegrini, done in England well before Hogarth started di-
versation-pieces, comes to the manner of Hogarth. Of Hogar.'s
portraiture in general there is little to show in the way of stues.
Here it should be noted that his drawings in any form are re.
He seems not as a rule to have made preparatory studies
paintings, relying on a system of mnemonics to support what as
clearly an extraordinary capacity for memorizing detail. Jat
there is in the exhibition a beautifully drawn Head of a Slee\
Child (No. 3), in black chalk with white heightening, wBh
possesses some of the merits of his finest portraits. Of his man
of drawing Paul Oppe speaks of the 'loose open curves in wBl
his hand moves, though the lines are scratchy at time or tremulcs.
and always broken' (Ibid., p. 18). The truth of these words is s'n
in this drawing and the rococo element is marked. It mayle
added that the modelling of the face is exceptionally fine
there is no hint of idealisation; on the contrary it is touchinv
realistic.

Of Hogarth's preoccupation with facial expression then
constant evidence in his work and his treatise, The Analyst:]!
Beauty. 'It is by natural and unaffected movements of the muscpj
caused by the passions of the mind, that every man's charact
would in some measure be written in his face, by the time i
arrives at forty years of age'. But he acknowledges that ms
different causes can produce the same kind of expression and t t

10

J igarth. Characters who frequented Button's Coffee-House, brush and wash. 6. Hogarth. A Harlot in her room attended by her 'Bunter', red chalk.

.-tore one cannot necessarily trust a face. Nothing is more
racteristic of this master of expression than his constant
lication of keen observation and commonsense to the prob-
of physiognomy. He had learnt much, as the exhibition
lonstrates, trom the Italian masters of caricature and Pierlone
vzi, his contemporary, particularly influenced him. But, at
t in later life, Hogarth did not wish to be thought of as a
caturist. He distinguished between the facial expression which
y revealed the man and the exaggeration of a particular
ure which made him an object of ridicule. His print, Charac-
and Caricaturas is an attempt to illustrate that distinction. In
own estimation Hogarth was a creator of character. But it
st be admitted that there is an element of caricature in many
us 'characters'. Opinion is divided on whether the famous
n Wilkes is a very revealing portrait or a caricature ; probably
something of both. The same may be said of Lord Lovat (No.
In Dr. Antal's view the effect is devilish. Others might read it
ler as the portrait of a crazy, though cunning, adventurer. In
same way Hogarth's habitual wandering on the borderline of
icature is illustrated with considerable wit in the pen and wash
wings, Characters who frequented Button's Coffee-House (No. 5).
re, where Hogarth became intimate with the literary circle of
dison and Steele, his records form a most convincing preview
the sort of types which even today are recognizably clubland
mortals.

Hogarth's graphic knowledge of the possibilities of the human
(e as the mirror of the emotions was allied to his deep under-
lding of the theatre. It was a unique combination. Stage
formances are of course frequently recorded in his work and
Scene from the Beggar's Opera first made his name familiar as a
nter. Clearly the step to the moral cycles, of which A Harlot's
gress was the first, was a short one and was not taken by
idem. George Vertue tells how Hogarth first came to paint a
all picture of a common harlot in Drury Lane getting up to
;akfast at noon and how his friends urged him to make another
a pair. The idea grew until he had executed a scries of six.
'ese he engraved and issued in 1732; they were a prodigious
xess. There is a drawing on exhibition (No. 6) which is not

7. Hogarth. A Harlot's Progress. Plate VI, The Funeral, engraving.

connected with any of the published plates of this series. The
attribution to Hogarth can hardly be contested and the idea is
close to that described by Vertue. Though more squalid, it
conceivably represents his first thoughts on the theme. A Rake's
Progress followed, then Marriage a la Mode. Then came Industry
and Idleness, and the numerous drawings which exist in the
Museum for this last series are all shown. It is interesting to note
that there are often considerable differences between the pre-
liminary sketches and the finished drawings for engraving. How-

11

8. Hogarth. Morning, engraving.

9. Hogarth. Illustration to the 'Five Days' Peregrination, pen and water-
colours. All illustrations are reproduced by courtesy of The British
Museum.

ever much the engraved sets were in demand — the public qu<;d
up to obtain them — little interest was shown when the paii-d
originals came to be sold, and they went for discouraginglv
prices.

The labour of engraving these sets seems to have irked Hoe.th
extremely, so much so that he employed French engraversjor
Marriage a la Mode. There is a professional refinement in t»
plates perhaps beyond Hogarth's capacities. The contrast \|th
his own engravings is most suggestive. His psychological insfot
is unquestionably more penetrating. It is almost as if he deli r-
ately sacrificed technical refinement to that end. Plate \
A Harlot's Progress (No. 7), the funeral scene, is a most imprt
example of Hogarth's ability to convey venial motives for hum
behaviour even in the most unlikely circumstances. The sec
at once human, absurd, but altogether plausible.

During his early apprenticeship as a silver-plate engraver
this phase of his career is well illustrated with engraved des qj
and the Walpole Seal Salver from the Victoria and Al
Museum), Hogarth was conditioned by the prevailing ban
style. He was also a great admirer of England's only ban
painter of note, Sir James Thornhill, with whom he co-opeiv
in at least one painting. He was never to abandon the ban
idiom entirely even if it appears only in the settings of his c
positions. It is conspicuous in many of his book-illustrations
even in such an everyday scene as Morning (No. 8) where ie
gigantic portico of St. Paul's, Covent Garden, is visualise
baroque fashion as the backcloth to a realistic view of Lon
life. This print is also typical of many of Hogarth's composin
of contemporary life in its ability to suggest, without insistim
topographical accuracy, a particular neighbourhood of Lonci.
Hogarth was, after all, the complete cockney.

Much of the modern decline in Hogarth's appeal ma}
attributed to the general criticism of his art as literary. This v
is derived perhaps from distant memories of his 'moral' engi -
ings hanging en suite in many older houses. He certainly requ
these to be read as scenes in a drama. Here he was clost
Fielding and had the encouragement of contemporary writs.
But to view his work as graphic theatre is to judge him vy
narrowly. He was concerned with form and colour in a
probably no other English painter was and belonged to that \
rare species, the 'intellectual' artist. From his acute observation
life in its variety and his wide knowledge of European art
built up his own theory of art which he outlined in The Anahs
of Beauty. Two manuscript drafts of this treatise in Hogan's
autograph are on exhibition. The labour involved in its compu-
tion is obvious and important. He was deeply concerned to fi it
the views of the connoisseurs that there was one ideal wa)
drawing. His close observation of life led him to seek e
relationship between the mental processes and the movementnf
the body. These could be graceful or grotesque but there isn
infinite gradation. When he wished for a particular eflt
Hogarth would use a particular manner of drawing, ofn
deliberately ungraceful. Such a manner is found in the illus;'-
tions to his Peregrination (No. 9) and evokes the slightly hum -
ous, down-to-earth, salty realism of that light-hearted expeditiu.
This unbuttoned style had its influence on Rowlandson w
copied the drawings. But the exhibition is more concerned^
illustrate the influences which formed Hogarth's art and s
relation to the life of his times than to follow its later effects. 1
visitor to the Print Room, if he thinks of Hogarth simply a.i
moralist whose weapon is caricature, is likely to broaden s
views. It is to be hoped that he will follow this up by looku
again at Hogarth's paintings the best of which are in Londi
collections.

1 ;

n octagonal library table at Scone Palace which was probably supplied by Bullock.

rhe work of George Bullock,
abinet-maker, in Scotland: 2

JTHONY COLERIDGE

nHERE are two pieces of furniture at Scone Palace, Perth,
. the seat of the Earl of Mansfield, which can be attributed to
orge Bullock on stylistic grounds. The Atholls and the Mans-
ds, both of the Murray family, have for many years had
nmon ties and Blair Castle is, in fact, only about forty miles
[■m Scone Palace. It is not unlikely, therefore, that they should
th have emploved the same cabinet-maker, especially as
illock must have on several occasions travelled, via Perth, to
iir Atholl to superintend the quarrying of the Glen Tilt
irble and perhaps even the selection of the larchwood from the
ike's plantations. Furthermore, William Atkinson,11 who was
.* architect for Scone Palace, also built Abbotsford House for
' Walter Scott (see below). George Bullock collaborated with
kinson on the interior decoration of Abbotsford, and thus
kinson may easily have introduced his friend and colleague to
ird Mansfield.

The first of the two tables (No. 9) is an octagonal library table

in strongly figured rosewood and the ormolu foliate collar around
the base of its pillar has much in common with those on two of
the Blair Castle tables (cf. Nos. 1 and 2 in Part 1 of this article).
The band of interlaced thistles and acorns, which is inlaid in brass
as a border on the top of the table (No. 10), is also entirely in
keeping with his style. The top of the second table, which is in
banded burr-elm, is shown in No. 11. Once again a local wood
has been chosen and has been contrasted with eboniscd bandings
and stringings and brass inlay. It is interesting to note that the
inlay on the outer borders of both tables are identical. The
original base for this table has unfortunately been changed for
one of Gothic design in stripped oak.12 There are also a pair of
small eboniscd and gilt reading stands in the Palace which are
entirely in his tradition. It has thus been shown that Bullock
certainly supplied furniture to one, and probably to two, of the
great Scottish Highland houses.

Before discussing his work at Abbotsford House, Melrose,

13

io. The top of the table shown in No. 9. The continuous band of brass
inlay depicting acorns and thistles is typical of Bullock's work.

II. The top of another table at Scone Palace in burr-elm. Cf. the ou
border of this table with that shown in No. 10.

12. A rosewood cabinet attributed to Bullock on stylistic grounds which is
in the possession of Messrs. Glaisher and Nash Ltd., London.

which a premature death prevented him completing, an extreme •
interesting cabinet in rosewood and brass has been illustrad
(No. 12), which is in the possession of Messrs. Glaisher and Na
Ltd., of London.13 The stylised brass flower-heads and continues
interlaced foliate borders are entirely consonant with his sttfw *'
(No. 13) and it is interesting to compare the strange bell-shapj
flowers which surmount the styles of the cabinet with those on tr
frieze of the Blair Castle cabinets (cf. No. 5 in the previous articl.

Bullock, who was a personal friend of Sir Walter's and w»«4t
had been introduced to him by J. B. S. Morritt of Roket.
worked in conjunction with the architect of AbbotsfoiBrs:
William Atkinson,11 on its interior decoration. It is not at \
clear how much furniture his firm actually supplied for the hou,
for his untimely death on 1st May, 1818, cut short many of t-
plans that he and Sir Walter had made. Most of the references »
Bullock in Scott's correspondence relate to the planning of tt
armoury and the execution of the doors and windows designi
by Atkinson.14 There is one piece at Abbotsford House whi.
can, once again, be attributed to Bullock on stylistic grounc
with of course the added evidence that he was closely connect,
with the furnishing of the house. It is a small lamp table (No.i^
the circular top in pollard oak inlaid with brass and the taper
pillar and trefoil support with carved gilt and ebonised folia
decoration.

The suite of light oak furniture in the Dining Room h
traditionally been ascribed to Bullock, but the evidence is co
flicting. It consists of a sideboard, an extending 'Imperial' ty]
dining table, a wine-cooler and a set of chairs. A letter15 frcj.
Sir Walter to Messrs. Bullock and Company, written on 19,
September, 18 19, over a vear after Bullock's death, reads:

'Sir,

Agreeably to what I formerlv wrote you I have directc
Mr. John Ballantyne of Edinr. to remit to (you) a draught f<
^430 which being received and duly honoured will balan-
my accompt with Messrs. Bullock and Coy so far as hither

furnished I will be obliged to you to get the rest of n

things forward. The sideboard came safe and is extreme

beautiful Abbotsford, Melrose.'

Bullock, or more probably his firm, after his death, must

14

en working in close collaboration with William Atkinson, the
;hitect, on this piece for the latter shows a design for the
leboard in his plan for the Dining Room which is the same,
ith slight modifications, to the one now at Abbotsford shown
No. 15. The wine-cooler (No. 16) which is carved from almost
entical wood may well have also been made by Bullock's firm
d the applied foliage is much in his tradition. However, there
•pears to be no documentation with regard to the wine-cooler,
ith the exception of a design for it drawn by Atkinson.
The dining table is of the 'Imperial'16 extending type and a
>rncr of it, showing one of its plain turned legs, is illustrated in
0. 17. Lockhart,17 who is not an entirely reliable source, says
iat Bullock did, in fact, make the table, and tradition holds that
was made from oak trees grown at Drumlanrig Castle,
'umfries-shire (see below). As has been said above, Bullock
led on 1st May, 181 8, and it is not until after his death that there
■e any references to a sideboard and chairs. Scott, writing to
lartstonge18 on 13th May, 1818, mentions the help that he has
xeived from Bullock in the construction of doors and windows
id Daniel Terry,18 in an unpublished letter to Scott of 15th
lay gives an account of Bullock's death and a statement of what
ad been completed in his workshop. Again there are references
.) doors and windows but not to furniture. Three days later
cott, writing to Terry says :

'There was much furniture, grates, sideboard, dining tables
etc. which our poor friend was to have furnished and which
may perhaps be still got from his warehouse better than else-

( whare. But we are now come to a point where we shall be
desirous of some dispatch and I can determine on nothing till I
hear from you what will be my best course. If you can pitch
on such articles as you hke I would trust your taste sooner than
my own — plain and handsome being the word — the tables
should dine perhaps 18 people poor George also pro-
mised to send me a simple plan of a couch bed19 for dressing
rooms, the drapery hanging on a hook over it as in
France '

On 17th June Scott writes again to Terry: 'The following

articles will I think include all the furniture which we shall want

immediately from Hanover Square:

14. A pollard oak lamp table at Abbotsford House which is attributed to
Bullock on stylistic grounds.

IS

15- A light oak sideboard table from Abbotsford House which Bullock's firm probably made to the designs of William Atkinson, the architect.

Two sets of marblcs-(in) parlour and Armoury
Sideboard and Dining tables

Chairs to eating room (to Mr. Atkinson's taste and yours)
One four post bed
One couch bed

Three grates (dining room, Armoury and Study) with fire
irons corresponding

Chairs or stools for Armoury. I suppose two chairs and two
stools would do; they should be in character.'
Nothing, however, appears to have been done and Terry, in an
unpublished letter of 16th September, r 8 1 8, writes:

'Poor Bullock's concern is entirely to cease and in another
week or two is to be sold up. Mr Bridgens is gone to Italy, and
all the rest gone to the Devil I believe — the Thing is no more —
but wc will take care of you '

Terry's information in the above letter appears to be rather
premature and the company must have carried on, in some form
or other, for at least a year. Two documents have already been
quoted in support of this statement — first the invoice for the pair
of larchwood cabinets for Blair Castle is dated 12th February.
1819, and secondly Scott's letter to Messrs. Bullock and Com-

pany, enclosing a draft on John Ballantyne of Edinburgh foi
^430, is dated 19th September, 18 19. The firm was, therefore
certainly still trading after Bullock's death, and it is a reasonable
supposition that some of the pieces listed in Scott's letter20 ol
17th June to Terry were, in fact, supplied by the firm and were
included in the ,£430 that he payed to them.

There are also several other pieces in the house in Bullock's
style. The first is a larchwood writing table on carved central
pillar and quatrefoil support which is not unlike the sofa-table at,
Blair Castle (cf. No. 7 in the previous article). The second is a,
circular mahogany breakfast-table on fluted pillar and trefoil
support and the third is another of similar design in rosewood.
Finally, there is a Gothic design cabinet in elm and yew with
veined red marble slab, which was made to take the leaves of the
dining table (No. 17). Both the table and the cabinet arc referred
to in Scott's Reliquiae Trottcosienses:

'The dining-room contains a beautiful dining-table of Scottish
oak, with room for thirty people, and clouded in the most
beautiful style. On this last subject, and apropos of the set of
dming-tables, these are valuable for more reasons than one.
They were made of particular parts of the growth of certain

16

. A similar wine-cooler which stands underneath the sideboard (No. 15). -

very old oaks, which had grown for ages, and had at length
become stag-headed and half dead. On the place where they
originally stood, in the old and noble park of Drumlanrig
Castle, these trees were sold by the late Duke of Qucensbury,
along with the more thriving plantations growing upon the
domain around the castle. But no one being aware of the
curious and valuable purposes to which they might be applied,
they fetched low prices, and some of those who bought them
did not think it worth while to cut them down, since the
payment must have been a necessary consequence of closing
their bargain. So stood the matter when the Duke of Queens-
bury concluded an unusually long life, and the bargain, so far
' as it respected these old trees, became in every respect forfeited.
Mr. Bullock, who chanced to be in attendance at Drumlanrig
about the time, had no hesitation in giving it as his opinion
that the progress of years had exactly brought these ancient
oaks to the point of perfection when their timber would make
the most excellent furniture. The set of tables designed for
Abbotsford was accordingly taken in hand, and turned out to
be the most beautiful, so that it was one of the singular chances
that accident will often bring a commodity through mere
chance to that purpose for which it is best adapted. A case
made also by Bullock out of the roots of elm and yew trees
which had grown in the woods of Rokcby completed the set
of tables, forming a convenient and useful receptacle for the
I separate leaves.'21

/ am indebted to His Grace The Duke ofAtholl, The Earl of Mansfield,
Mrs. Maxwell-Scott, and Messrs. Glaislier and Nash for their many
courtesies during the preparation of this article.

NOTES

. 11 William Atkinson, 1773 ?-l 839, was a pupil of James Wyatt and was practically
and theoretically an able architect. He built Scone Palace for Lord Mansfield and
i thus may easily have introduced his friend Bullock to him.

, 12 This was probably done in 1842 by Ballingal of Perth who, at this date, supplied

1 quantity of Gothic design furniture for the Palace.
I 13 Glaisherand Nash Ltd., Shop 2, Lowndes Lodge, London, S.W.I.

17. A detail of an 'Imperial' extending dining-table, also from the Dining-
Room at Abbotsford, which tradition holds was made from oak trees
grown at Drumlanrig Castle, Dumfries-shire.

14 I am much indebted to Doctor James C. Corson of the Library, The University
of Edinburgh, for most of the information in this article relating to Bullock's work
at Abbotsford. Much of the following text is based on notes and quotations with
which he has kindly supplied me.

15 Unpublished letter, M.S. 1750, f.242, from the original manuscript formerly in
the Owen D. Young Collection, New York, present location unknown. I am
indebted to Mr. E. F. D. Roberts, Assistant Keeper of the Department of Manu-
scripts, the National Library of Scotland, for the typescript of this letter.

16 In 1805 Robert Gillow charged £56 for an Imperial dining table for Blair Castle.

17 J. G. Lockhart (1794-1854) was Sir Walter Scott's biographer. Life of Sir Waller
Scott, J. G. Lockhart, 2nd Edit., 1839, Vol. VI, p. 66, Footnote: 'The Duke of
Buccleuch gave Scott some old oak-roots from Drumlanrig, out of which a very
beautiful set of dinner-tables were manufactured by Messrs. Bullock'.

ls Hantstonge was an Irish poet who is solely remembered through his friendship
with Sir Walter Scott. Daniel Terry, I78o(?)-i829, actor and playwright, was a
close friend of Sir Walter's from 1 8 16. Terry's architectural knowledge was of
great use to Scott, who consulted him on many questions while building Abbots-
ford.

19 In Ackermann's Repository, November, 1 8 16, there is a design by Bullock for an
English bed, selected 'for the tasteful simplicity that pervades it . . . .' The linen of
the drapery, as well as the head and footboards, are simple and straight . . . C.
Musgrave, Regency Furniture note 1 above. A rosewood bed still remains at
Abbotsford, which was in Sir Walter's dressing-room — it has upholstered panelled
ends carved with Egyptian papyrus foliage.

20 Quoted above in text.

21 This manuscript was first printed in Harper's Sew Monthly Magazine, Vol. 17
(Apl., 1889), pp. 786-787.

17

V unique silver 'Box' in a new
uondon home

PETER WINCKWORTH

H E Westminster Tobacco Box constitutes a curious and
. unique collection of silver and of engraving upon silver
MB 1720 until the present day. It is an unexpected but fortunate
,ult from the building of new premises for the Westminster
tv Council that this Box will from this month be seen dis-
iycd on the twentieth floor of the latest tower-block in Vic-
ia Street, London.

The Box is not the property of the City Council but belongs to
e Past Overseers' Society of St. Margaret and St. John, West-
instcr. That fact gives some hint of its history and the fascinat-
es sequence of its collected records.

Until the advent of local government at the turn of the last
nturv there were Overseers ot the Poor in every parish, raising
onev bv means of the Poor Rate and spending it upon relief, or
e management of the Workhouse or by providing work for
e unemployed. In the joint parishes of St. Margaret and St.
hn, Westminster, men who had served their one or two years

office as Overseer and those in office met together once a
,onth in a Westminster tavern, and formed themselves into a
xictv called the Past Overseers' Society. In 171 3, Henry
lonck, an Overseer for St. Margaret's Parish that year, bought
ir fourpence at the Horn Fair at Plumstead a common horn box
id presented this to the Society. In 1720 a rim of silver was put
n the outer lid of the box to commemorate Henry Monck's
ift.

In 1749 the first oval case into which the original Box fits had
een acquired, and an ornament added in 1765 records that the
>ox and case are to be handed on to the custody of each 'succeed-
lg Sett of Overseers on penalty of 5 Guineas'. From this date and
nthout a break the custom has continued of custodianship of the
lox year by year, and the annual addition of some piece of in-
:ribed silver, the inscription recording the chief events of the
ast year.

The Box is now contained within five cases, the largest being
urmounted with a silver statuette of Queen Victoria added in
887, the year of the Jubilee: the canopy above was added by the
iociety in 19 13 to commemorate its Bi-centenary. This outer-
nost case was later raised by a hollow plinth, made from an oak
)eam from Westminster Abbey, and between the years 191 4 and
.935 inscribed plates of silver were added to the outer sides of
his plinth. In 1936 silver dishes, designed by Sir Edwin Lut-
.ens, in the shape of a Tudor Rose and of a size that 12 such
iishes may be fitted within this plinth, were adopted for future
nscriptions; each dish will cover a period of about 16 years.

During the second half of the eighteenth and most of the nine-
.eenth centuries the silver addition often included a fine engrav-
ing. That of 1783 depicts the Overseers of the Poor carrving out
their duties, and that of 1824 depicts the Box and Cases being
delivered to the succeeding Overseer at the Society's annual
dinner. Seven coronations are recorded, as are most roval births,
marriages and deaths. Great events, such as the battles of Trafal-
gar and Waterloo, the passing of the Reform Bill and the first

The Octagon case, 1791-1808. The central panel shows the St. Margaret's
and St. John's Corps of volunteers assembled in Westminster Hall on 19th
October, 1803, the day appointed for a general fast, to hear Divine Service
performed by the Reverend W. W. Dakins, minor canon of St. Peter's
Westminster.

The original 'box' (centre), height 49A inches, and its several cases. Other dimensions: dishes, l6i inches diameter; box at centre
right, excluding handle, 16] inches high; round box, centre left, 11^ inches; octagonal box, at left, 8| inches; oval box, below left,
4| inches; larger oval box, below right, 6 \ inches; diameter of small box, centre below, 4| inches.

19

The Circular casket, 1809-1826, the plate showing Westminster Abbey and
St Margaret's Westminster.

Second oval case, 1783-1790. Plate showing the Overseers of the Po
assembled in the board room administering relief.

The original horn box and stopper, 1713-1747.

flight into space, are all to be found in this curious collectio
Matters, too, of more local interest are noted, such as the con
pletion of the Nelson Column in Trafalgar Square in 1843/4
and the arrival of Big Ben in the Palace of Westminster in 185
Now that the office of Overseer is obsolete, the Society coi
tinues, its membership being drawn from individuals who a"
rate-payers in the original parishes or members of the Wes
minster City Council. At each annual dinner two members ai
appointed custodians of the Box and its several cases, and tl
senior custodian at the end of his year is responsible for the adde
inscription.

Heretofore the Box and Cases were to be seen only at th
Society's Dinners and, in recent years, at the Mayor of Wesi
minster's annual reception. The interest of these pieces consis
largely in the various inscriptions; so that, properly to be e
joyed, the spectator needs to be able to examine the cases
leisure. To this end the Society has agreed to lend the Box an
Cases for an indefinite period to the Westminster City Counci
who will display them with the City plate, in the strong-roon
now incorporated in the mayoral suite in the new City Hall.

It is good that the Mayor's visitors, especially those fro
abroad, may now be able to see this unique treasure, whi
demonstrates the special position of Westminster at the heart
our historical cavalcade recording by parochial devotion even
of world-wide significance. Any others who would like to see th
Westminster Tobacco Box may do so by arrangement eith
with the Clerk to the Society or with the Mayor's Secretary.

20

Maurice Marinot's glass

he extreme rarity of his 'Sandwiches' ada polak

"*HE gift of twenty pieces of glass by the French artist,
Maurice Marinot (1882-1962), to the Victoria and Albert
iseum means an important addition to the national collections,
irinot's glass has hitherto been unrepresented not only 111 the
iseum but in any British collection, private or public,
n front of these glasses one must forget all preconceived ideas
what ijlass can or should be. They are not vases and bowls
,dc for use at the dining-table or for decoration on the mantel-
ce. They are free and expressive works of art, made with the
ist ambitious artistic aims and exploiting to the fullest extent
■aesthetic possibilities of the material.

Marinot brought to glassmaking a considerable artistic talent,
J — equally important — the artistic training of a painter in that
1st inspiring milieu: Paris at the beginning of this century. As a
ung man he associated himself closely with the Fauve school

later years he used to describe himself at that stage as tres
ive !) and in his glass he employs colour in the same bold and
pressive way as the painters of that group. But his glass also
ows influences from the other major movements and personali-
s of Paris of his time: the intellectual austerity of the Cubists is
hoed in his magnificent acid-etched pieces, his colour-glass can

reminiscent of the rich sensuousness of a mature Braque, his
eorative motifs often have the exquisite outline of a Matisse
awing. Some of his heavier pieces can, indeed, give the same sort
satisfaction as a fine head by Despiau — Marinot had a con-
ierable sculptural talent, and much of his glass is really pure
ulpture.

This does not mean, of course, that Marinot imitated his great
mtemporaries. Nor does it mean that he tried to make glass do
tore than it is capable of. These stylistic elements entered his
mk in a quite unforced, unconscious manner, only because
larinot was deeply imbued with the spirit of his time. But he
as himself the last to try and exalt his glass creations to 'works
f art'. His approach to his chosen material was a very sober one.
torn 191 1 onwards, when he first began working with glass, he
xplored the material closely, painfully and step by step. Little
y little he got to know its qualities and its limitations, its work-
lg methods and tools, the craftsmanship of glassblowing, the
hemistry of coloured glass. He indignantly refused to be called
>lass artist' and always proudly described himself as Marinot,
errkr.

The Marmot glass in the Victoria and Albert Museum dates
'rom the years between 1923 and 1934, his finest period. He was
hen a man at the height of his mental and physical powers, and
ifter his long years of self-imposed apprenticeship he had full
nastery of his material and its tools. The work with glass at the
urnace always remained for him the crowning artistic experience.
Te was endlessly fascinated with the give and take between
-raftsman and material, this material 'qui nait dans unc lutte.
dans le feu, dans la fnmee, qui se defend ou obeit a tour de role,
qui obeit quand je la contraint en respectant sa nature'. But
alongside this inspired work with the blowpipe in front of the
gloryhole went the long preparatory processes, the working out

1. Maurice Marinot's one painting of importance, Jeunefemme et son enfant.
Acquired by Le Musee National d'Art Moderne, Paris, in 1952. The
Marinot home was destroyed by bombing in 1943.

2. Bowl of champagne-coloured glass with inlaid foam of air bubbles. The
square shape flares out widely at the rim and has been boldly tooled to
emphasize this. H. 4i inches, 1934. (C. 6.1964.)

21

3. Large flacon with a milky-white body encased in clear glass. A line-
drawing of a sitting woman has been acid-etched into the side of the body.
The scalloped edge round the shoulder is repeated in the shape of the
stopper. H. II inches, 1923. (C. 3. 1964.)

4. Tall flask of massive clear glass with inlaid air bubbles. Rough, irreg
facets have been scooped out of the surface by acid-etching, with an efft
like blocks of ice. H. 9J inches, 1932. (C.17.1964.)

6. Bowl of clear glass with the upper parts shading off" to a light oliv
colour with enclosed streaks of black and a few red spots. Round th
middle runs an acid-etched zigzag border, deeply slashed into the side
H. 5| inches, 1929. (C. 19. 1964.)

5. Left. Flacon of clear, crackled glass, of square form, with the shoulder
flattened into four lozenge shapes whose lower ends hit the four corners o
the main form. H. 75 inches, 1929. (C. 4.1964.)

22

o e recipes for the colours he had envisaged, the making of the
tc ; he needed to attain specific effects, also the patient discipline

0 laking his acid-etched glass, where he could have a single
p ; in hand for months.

11 the main genres of Marinot's glass are represented in the
a to the Museum. Least satisfactorily his enamelled glass, the
I b examples of which really belong to an earlier period (mainly
b re 1922). But here are magnificent examples of his heavy
a -etched glass with patterns of a highly intellectual character
ii .-lief— deeply satisfying the more one penetrates into their
c (positional complexities and correspondences. Here are fine
c nples of his freely tooled glass, which reflect the exciting
s ggle before the furnace in a remarkably spontaneous way.

here are exquisite coloured pieces, perhaps the most
s ictive of his glasses. Inspired by colours and textural effects in
, ire — running water, moss on a tree trunk, a weathered stone —

1 created his colour effects, usually on very simple flacons,
\ >se flatness or rotundity discreetly emphasize subtleties in the
( ibination of shades. When some years ago I had the good
i unc to spend a day looking at Marinot glass in the company
c he artist himself, communication was rather difficult as his
] ;lish and my French were equally imperfect. But I shall never

ret the beaming expression on his kind and intelligent face
' :n I stood with one of these coloured flacons in my hand, no
1 ibt looking rather puzzled, and he suddenly exclaimed, Sand-
; '/.' That was a word we could both understand, and which
y adequately described his colour-technique : the coloured core
ideed, sandwiched between layers of transparent glass. Whether
se layers are thick or thin, smooth, convex or concave is, of

e, of major importance to the final effect,
vl.irinot went on making glass until 1937, when he had to
e up for physical reasons. In his studio his glassmaking tools
re hanging on the wall, and he looked at them wistfully and
irmured : 'There was still so much to be done'.
Today, Marinot's glass cannot be got in the market. Most of it
s picked up by collectors or Museums as soon as it came from
factory in Troyes where he had his working place. In Paris
re are fine groups of Marinot glass to be seen at Musee des
ts Decoratifs, in the Petit Palais, in Musee Galliera. A few
vate admirers also possess fine collections, notably M. C. de
ake in Paris and M. Pierre Levy in Troyes being perhaps the
>st important. But outside France Marinot glass is much less
y to find. A number of foreign Museums acquired a piece or
0 on the occasion of the great international exhibitions, the
itional Museum in Stockholm owns two, the Corning
useum in New York a few more, and so on. The more one
preciates the gift to the Victoria and Albert Museum of such a
ge and representative group of glass, and the greater is thegrati-
de to Mile Florence Marinot, the artist's daughter (and guardian
his memory and his works), by whose generosity the gift
came possible.

(

Vase of massive, clear glass with red streaks and air bubbles enclosed,
he basic shape is square, and has been nipped, folded and impressed with
>olsby the furnace. H. 5 J inches, 1930. (C. 5. 1964.)

7. Flacon of smooth, flattened shape, inlaid with bluish-mauve glass with
vertical black stripes with bright red splotches and with air bubbles large
and small. H. 6? inches, 1930. (C.10.1964.)

23

Hanich: from the Classical to
the Imaginary

Le Troisieme Oeil (1963), 195 X 130 cm.

HENRY GALY-.CARES

AT the age of thirteen a precocious Hanich took a lift
-interest in a pastime which was eventually to becom^ft
deep purpose of his life : painting. During evening classes n-
tended primarily for adults, he was to draw and paint, airier
unconsciously haunted by the need to express the astonislae
world which surrounded him: an activity which in no wayK
peded the studies he was to pursue into the realms of speciam
mathematics, and which enabled him during the war, bqk
taking to the maquis, to work in a secret radio laboratory at LjL
From this first so-called Classical period of his painting, wft
lasted for eleven years — from 1935 until his demobilisation ame
age of twenty-four in 1946, and during which he was continift
drawing and painting — we shall analyse in particular one oft
earliest achievements: the Nude, illustrated on the facing pi
executed at the age of thirteen, which reveals not only his e-
cocity but also all the elements which, when developed ■
strengthened, were to form his personality as a man and at it
In this work we note his liking for solid structure, the sensoi
rhythms and of movement, already expressed with gt
mathematical precision, and visible in the accentuation of 10
opposing rhythms, of the arms and of the body of the mojl.
One sees also a certain colour 'divisionism', a sensual perceptoi
of matter which he was always to retain, the developed inst::t
for attenuating inessential detail in order to accentuate prim-y
elements, a profound sense of light and shade and of pS} (
polychromisms, which already induced him to use earthy colon:
gold and yellow ochre, and sienna. These characteristics
phasised, even in this early period, his individuality and powei)
transmission.

It was not, however, until 1946 that he decided to devote his "1
to painting, and began to frequent various ateliers such as thai
the Academic Jullian, and of the Grande Chaumiere — bef
settling in that of Fernand Leger, with whom he was to
associated as one of his chief collaborators until the mom |
when his longing for liberty induced him to leave it in order
become more completely himself. It was about 1948 that e
break with Fernand Leger's atelier occurred, and there began r
him, after a re-examination of the whole problem of paintn .
that transitional period which was to lead him, nine years later,)
non-figurative painting. This was a development exemplified [
the elongated lines of Les deux chaises of 1949; still influenced!
their drawing by the style of FernandLeger and Cubism, but win
already point to a nascent freedom that became even m,
obvious in La Nature Morte aux Deux Violons of 1950. This vs
still in the Cubist tradition, but was characterised by a change i
subject. Hanich, strongly attracted to music, feels the need i
translate into painting all that relates to this art. Here are tv
instruments, but his aim is rather to resolve the problem of obje
in space, as is shown by the bow in the centre of the canvas, al
the question of solid and sure construction which was to be %
constant obsession. Later, with more pronounced synthesis, cart
Le grand orchestre bleu in 1955, in which Hanich abandoned t:
curve in favour of straight lines only, which, entangled an

24

Nue debout (1935), 46 x 32 cm.

itinually cutting across each other, convey a sense of movement
the very play of their construction, opening the way to
ometrical' schemes by their rectangular patterns. We discover
>reover in this canvas the desire to translate into painting the
otion aroused in him when listening to the Concert for Two
olins by J. S. Bach. Les deux gondoles a Venise (1956), shows
:n more clearly Hanich's passage from figurative art to the
stract; for in this work he deals with the dynamic problem
■ated by the movement of the water in Venice, its relations
th light and with objects, gondolas and palaces : the problem of
ninous rhythms integrated in static and moving elements
lich dissolve and merge.

Les deux gondoles a Venise was a development, the transition to
Abstract period, which was to last three years. From now on
e subject was to disappear and Hanich's scientific mind was to
id him inevitably to express movement in itself, and weightless-
ss, in works which remained purely pictorial, the reflection of a
mperament not only dramatic and apocalyptic but also lyrical
(id sensual, with unchanging polychromisms of black, very dull
ue, yellow and brown. This desire to circumscribe the dynamic
space itself, by means of geometric elements super-imposed
le on another in the light of space and in a weightless state such
, for example, in his Absence de Pesanteur of 1961 here seen — is
mbolic also of the scientific, mathematical and mechanised
mospherc in which men live in our present-day world, and
hich must be dominated by that voiding of self which the Budd-
sts strive for, so as to project the immediate subject in an equili-
rium between the interior man and the outward self of physical
<perience. These strivings are also apparent in two further
[anich works: Lumiere Naissante of 196 1, where one finds the

2. Les deux chaises (1949), 61 ■ 46 cm.

3. La Nature Morte aux Deux Violons (1950), 92 - 65 cm.

stant motion, where however the subject of the work is hcl m
equilibrium in a perfect stato-dynamic scheme. Then at la
Troisieme Oeil, illustrated here in colour, appears in 1963 h<J
typifies with greater intensity the new world of Hanich. Th is
mysterious certainly, and tragic, but in which is rising a dav
hope, thanks to its painting of light and to the lyrical impulsebf
the artist's soul. It would seem that with this last periochHanh.
pre-eminent among the most gifted painters, may have achie-d
his most profound expression of his world, his talent and his ste.

4. Le grand orchestre bleu (l955)» 162 X 114 cm.

problem of ascending movement, that of the dawn of light, of its
movement and vibration in weightlessness; and also, with some
variants, in La Lumiere Noire Cahotique painted in the same year.

From 1961 onwards Hanich devoted himself to various experi-
ments which did not in themselves satisfy him, but which
resulted after 1962 in the present so-called Imaginary period.
Reaching beyond pure abstraction, this makes Hanich one of the
artists who have best understood the evolution of contemporary
painting, the importance of the abstract and those elements in it
which are worthy of preservation.

His La Bataillc of 1962 is an example of this, for escaping from
the confines of Abstract art which had become too restrictive,
the painter's art now portrays the subconscious world which
exists in us beyond the world of our conscious being, discovering
a world that is different, symbolic, a reflection of the interior
world. La Bataillc marks the reappearance of the curved line in
Hanich's work and in its sombre intricate rhythms is reminiscent
of Paolo Uccello, but is more dramatic because of its use of
chiaroscuro and black. His Le Vertigo, which dates from the same
year, is one of Hanich's latest studies in movement. Here it is
movement wheeling around an axis in a universe still mysterious
and existing in weightlessness; limitless, universal space in con-

5. Les deux gondoles a Venise (1956), 120 X 60 cm.

2r>

I

6. Absence de Pesantcur (1961), 130 ■ 97 cm.

^7

Dr William Crotch (1775-1847)

Member of the Oxford School and friend of Constable

IAN FLEMING-WILLIAMS

IN 1788, after nearly ten years of appearing in public as a
musical prodigy, the thirteen-year-old William Crotch was
removed from the care of a mother who had done little to pre-
vent the exploitation of his astonishing gifts, and placed with a
rc>pcctable family at Oxford. It was here that, for the first time
since his extraordinary aptitude had declared itself at the age of
two and a half, he began to live a comparatively normal life. His
influential friends wished to make a scholar of him, but this was
not to be. In 1790, Norris, the organist of Christ Church, died
and Crotch obtained the vacant post. Thus was decided the
course of his future as a professional musician. He became Pro-
fessor of Music at the University in 1797 and married an Oxford
girl, Martha Bliss, in the same year. In 1799 he obtained his
Doctorate of Music.

Amongst the many friends he made during these years was
John Malchair (1729-1812) who, in the dual capacity as leader of
the Music Room orchestra and as drawing master, had for many
years been a central figure in the artistic and musical life of the
city. Malchair, a German who had received his musical training
in the choir of Cologne Cathedral, had originally settled in
Oxford in 1760 and during his forty years as a teacher there had
formed what may be fairly termed a school of drawing and
painting. Although its members consisted mainly of under-
graduates, few of whom became professional artists, the 'Great
School', as it was called in serio-comic tones, indirectly came to
influence the course of the development of landscape painting in
Britain. For many who had studied under Malchair, while re-
maining enthusiastic amateurs, in after life became the patrons
and collectors who directed, or sought to direct, the pattern of
taste during the last decades of the eighteenth century and the first
of the succeeding one. The part played by some of these — John
Skippe; Heneage Finch, 4th Earl of Aylcsford; George Leggc,
3rd Earl of Dartmouth; Charles Oldficld Bowles of North Aston,
and Sir George Beaumont1 — is comparatively well known; but
there were others, now forgotten, through whom the ideas which
originated at Oxford also infiltrated into the main stream of
professionalism.

During the period 1760 to 1795, when Malchair was active as a
teacher, his ideas formulated themselves gradually and the most
striking of them only found their way into his teaching towards
the end. In a sense it was the later pupils, therefore, who benefited
most from their association with him and above all the young
William Crotch who was also devoted to both art and music and
to whom, as blindness closed upon him, Malchair finally opened
his heart. Though it is doubtful if even Crotch fully understood
the import of the message which Malchair was passing on, it was
he alone who absorbed something of what that message meant,
and it seems most probable that it was he who conveyed the
message to the one painter who was not only capable of under-
standing it, but of developing it far beyond the powers of its
originator. That painter, of course, was John Constable.

I. John Malchair. Inscribed: 'Oxford August 1780 II (II a.m.) Chit
Church Meddow'. Pencil and wash, 93 by 12J inches. The Ashmoln
Museum. A good example of Malchair's lyrical naturalism and his in-
observance of the rules of Picturesque composition.

What were the ideas contained in the message? There le
three which can most conveniently be touched upon here. «
first concerns subject matter. While the Oxford training bep
with a study of the conventional modes of landscapes compc-
tion, from these, through constant observation in the open,
pupil was slowly weaned away until he had learnt to see for hir
self that subjects for his pencil or brush lay at every hand, 1
country which would have failed utterly to arouse a response!
the mind of a devotee of the Picturesque. The second deals wa
the relationship between subject and composition; a relationsb
of balance which only exact positioning would reveal. How A
was achieved is well expressed by Crotch himself when, in i8j§
he described his preparations before beginning a sketch in a fiej.
'At first entrance the view struck me as good', he relates, 'I hor
ever remembered the constant advice of my good friend all
able master Malchair, "always to walk about my subject befori
began to draw". I accordingly moved a few steps towards tb
N.W. and found the objects arrange much better. I was just goie
to begin my sketch but thought that it was not impossible that
few more steps to the right might still improve my vievwi
which they accordingly did. Brill hills appeared and the distar
in two points. Casting my eyes to the left I saw high trees whh
I thought would probably come in for a corner. A few sto
more brought them in but they hid my pigeon house and part '

28

r

2 hn Malchair. Inscribed: 'from Headington Hill Oxford'. Undated, c. 1785. Soft pencil and watercolour, 8J by I2| inches. British Museum,
V '7/II 17- Reproduced by permission of the Trustees. Malchair in a crepuscular mood. The rainbow-like colours in the sky dissolve into the sombre
I v greens, browns and greys of the hills and fields.

'hn Constable. Dedham Vale, from East Bergholt: sunset. Inscribed by the artist 'E. Bergholt'. Pencil and watercolour, 4 by 8 inches. The Victoria
Albert Museum. The dating of this drawing is uncertain, but it is at calogued as c. 1800-5. A drawing similar in style in the British Museum is
;djune, 1806.

29

4. William Crotch. Inscribed: 'No. 44 The Clarendon Printing Office,
Oxford Drawn by Wm. Crotch From his dressing room window Broad
Street. July 6th 1801 from a J before 4 in ye morning 'till a qr past 9
N.B. There is another from ye Parlour window Sept 1800 which gives ye
best idea of the distance of ye building etc' Soft pencil and watercolour,
9j X 14! inches. Author's collection. The other drawing mentioned is
now, with much other Crotch material, in the Central Library, Norwich.

5. William Crotch. Inscribed: 'John O Gaunts buildings Kenilworth
Castle W.C. M.G.S. Aug 10 1802 II a.m.' Soft pencil and watercolour, II .1
X l6| inches. The Ashmolean Museum. A picturesque subject treated
naturalistically.

6. William Crotch. Inscribed: 'from behind Wetherall Place Hampstead
June 26 1807'. Pencil and watercolour, 41, < 7 inches. Collection: Mrs.
Eleanor Williams. Crotch was in lodgings at Hampstead at this time.

1

the church tower — I stooped and they appeared! — I sat cjwn
and drew\ Brother beginner — If thou hast but 20 minut
spare — spend at least 5 in walking about your subject and tak
word as well as Mr. Malchair's you will not spend it in vairOh
that I had taken this advice of my old Master's when at little
Abbey ! and a thousand times besides.'2 »

The third idea was that the greatest attention should be p;
the effects peculiar to each particular time of day. 'Forty dirt ,
pictures' Malchair wrote, 'are produced from the same sub
an hour.'3 It was his custom to note the precise hour as well , t
date and the name of the place on his drawings, and this [bit
Crotch also enthusiastically adopted.4 Thus, in conjunction
other more technical matters, such as a tonal response to nan
which the pencil and wash were used in a manner approxin;
more closely to that of the Impressionists than to contempqm
work, from Malchair Crotch acquired a vision of a type rare
be met with outside the Oxford network at this time; a vjon
which has been aptly described by M. Henri Lemaitre as 'a scftf 1
lyrical naturalism'.5 It was soon after 1800 and, strangely enobl
after Malchair had lost his sight, that Crotch finally mastereqhn I
naturalism for himself.

In 1806, he moved to London. Here new friends were qi
made. Among these was Constable. A pencil sketch has survjed
which is inscribed: IV. Crotch playing Mozart — drawn by \k;
Constable R.A. M.G.S. about 1806.* There is another, this tinjot
Crotch's infant daughter, on which Crotch also wrote: IsM,
Crotch sleeping J. Constable July 11 1809 very like indeed.* It
teresting to note that on the first, after the initials R.A., Cr<ch
added 'M.G.S.'. This stood for Member of the Great Sch
Malchair was often referred to as the first P.G.S. (President ofhe
Great School). Crotch, it seems, was the last to hold the ofte.
Constable's membership was probably an honorary one.
there is no evidence that he ever met the school's first Presicr
There are many other records of the friendship which exi
between Crotch and Constable, who, it will be remcmbe
were almost exact contemporaries, but perhaps the nicest c
memoration is the inscription to be found on the back of onof
Crotch's own drawings. It runs as follows: 'The Colisscumid
ye Priory near Regent's Park. John Constable, R.A., told m
should be proud to own this as his sketch and desired me to
it here !'7

It has been pointed out that a characteristic of amateur w
was that in style it tended to lag perceptibly behind that of 11
professional. While in the majority of cases this was prob
true, yet there is a significant number of examples which cai
quoted where the amateur was in advance of the contemporv
main stream, which, after all, is not altogether surprising. U
he was firmly established the professional, with an eye on
career and the saleability of his work, could not afford to
failure. The amateur, on the other hand, who had no reputa
to lose, could more easily take risks and experiment. Of cou
by reason of his tougher training, his single-mindedness andci
sequent ability to sustain, it was the professional who ultimas
consolidated and communicated to the world what he
learnt from the amateur. And, after consolidation, if he w
genius — a Constable — his powers carried him far ahead of
rest.

The work of the Oxford nucleus exemplifies this process, t
the centre was a man, Malchair, who only exhibited once'
never sold the drawings which most strongly expressed s
naturalistic vision. This vision, which was to be of such vital i -
portance for the future, found continuance in Crotch's work ap
is to be seen there antedating its first appearance in that of Cc -
stable by several years.

JO

W illiam Crotch. Inscribed: 'Mrs. Lawrence's Cottage South Hill July 14 1810 12.' Near Maidenhead. Pencil and watercolour, 3' 6| inches,
llection: Mrs. Eleanor Williams. Constable's pencil sketch in the Victoria and Albert Museum of a similar subject, from which he painted
famous 'Cottage in a Cornfield', is catalogued as c. 1815.

NOTES

I 4alchair seems to have given away drawings to most of his pupils. It is not im-
ssible, therefore, that Constable saw examples of his work in Beaumont's
Uection before 1 800.

his description was attached to an album of Crotch's drawings. It was seen at
essrs. Appleby Brothers in 1961 ; they have generously given permission for it to
quoted in full.

rom 'Observations on Landskipp Drawing, with many and various Examples.
:ended for the use of beginners, Oxford, 1791', autograph manuscript in the
thor's possession. The full passage reads: 'flying cloudes much assist a Meridian
ire, by producing a variety of effects on the same object, but when thire motion
rapid, the chainges are much too sudden for the catch of an inferior Artist. Noth-
g is more enchanting than the shaddows of cloudes traveling on the surface of the
rth, thire extremities occasion the most varigated prismatick effects on trees,
ountains buildings and all other objects, while the more opake part of them
nders all that is eclipsed by it most solemnely obscure, one half of the prospect
.zells the Eye with splendor while the other is in part scarce visible, than suddingly
ch side chainges complexion, and forty different pictures are produced from the
me subject in an hower'.

\s did Constable also — significantly enough in 1 806.

Le Paysage Anglais a VAquarelle. Henri Lemaitre, Paris, 1955. One of the most

lportant ot modern works on the English Water-colour School. M. Lemaitre

;votes an entire chapter to Malchair and the Oxford School.

On a sheet bound in with the 'Memoirs of Dr. Crotch". Autograph manuscript.

orwich Central Library. MS 1 1244.
I Quoted by kind permission of the owner of the drawing, C. Fry, Esq. Undated.
(Royal Academy, 1773. 'No. 344, a landscape by Mr. Melchair of Oxford.' To

hich was added in the catalogue : 'Honorary exhibit', signifying that this was not

'garded as the work of a professional artist.

ight pencil and watercolour subjects, and one oil, by Crotch in the collections at the
astle Museum, Norwich, are noted in 'The Connoisseur's Diary' in this issue. There
also a considerable quantity of Crotch material in the Norwich City Library.

■ William Crotch. The north side of the church at Stanton St. John, near
)xford (1800).

8. William Crotch. Inscribed: 'My garden and field, Kensington Gravel
Pits. Hampstead, Highgate and Primrose Hills from Wm's room, I
believe or from the roof of the house. Mrs C in our long walk. I parted
from the field soon.' After 1821. Watercolour, 8] 17; inches. Author's
collection.

31

I. Francisco Zurbaran. Still Life, canvas, 16J 29 J inches (41. 3 75.5 cm.).

From Butinone to Chagall

Fine paintings and drawings of six centuries

WILLIAM GAUI^

THE exhibition of paintings and drawings of six centuries at
the Hallsborough Gallery (143 New Bond Street, W.i.,
from April 28 to July 23) is distinguished in quality and has an un-
usual variety of interest in its range from the fifteenth century to
the present. As the title implies, it is not confined by limits of
nationality or subject any more than of date. The only thesis it
would seem to offer is that good pictures, whatever their period
and style, go well together and equally merit the connoisseur's
attention. The choice presents its evidence of this. To try to
extract from it an historical evolution or specific development of
some kind would be out of keeping with its nature. It suggests
the advantage of looking at each work as an individual creation
rather than as one of a series of instructive specimens relating to a
particular period or phrase of art.

It indicates also that behind the wide differences of subject
matter, handling and outlook to be encountered in the course of a
long stretch of time there can be an underlying rapport between
artist and artist. Superficially, for instance, no two painters
could appear farther apart than the Dutch old master, Jan Joest
von Calcar and that fantasist of the modern School of Paris,
Marc Chagall. Yet their reds and blues give kindred sensation,
richness of palate may be seen as a link between the Holy Family
of the one and La Belle Rottsse of the other. There is all the diff er-
ence between the seventeenth and the nineteenth century in the
flowerpieces of Jan Baptist van Fornenburgh and of Fantin-
Latour, both of whom are represented by choice examples, but
their craft establishes a sympathy and common ground between
them.

This is not, perhaps, a point to be laboured to the extent of

systematically searching in the exhibition for pictures that can
'paired' for comparison, more or less after this fashion. It w
evidently not the intention of the organizers; nor has any ev<
proportion been sought between paintings old and modern, tl
latter being in the minority. In result, however, the criterion
such as to make for a consistency of level, conducting the visitc
through the changing epochs without giving the feeling I
abrupt transition or incompatibilities of aim.

Being, in that sense, timeless, the collection can be viewqj
without regard to chronological order. One ma}- becotf
absorbed, straight away, in an eighteenth-century painting,
large canvas by Alessandro Magnasco. It has a more definii
subject than the pictures of monks and hermits in a setting (
wild landscape which the Genoese master painted so ottei
Though no title originally came with it, it clearly represents tl"
sequel to the temptation of Jesus in the wilderness and his rebuk
to Satan, after which 'the devil leaveth him, and behold, angc
came and ministered unto him' {Matthew, IV. II). The compo
tion is conceived with all Magnasco's great sense of drama.

The towering mass of foliage has that density and gracefulne:
combined which may remind one of the landscape of Fragonarc
Entirely characteristic of Magnasco however is the suggestion c;
cavernous depth, the rays of light streaming through the trees t<
throw into relief the figure of Jesus breaking his long fast and th
angels hovering in attendance, the restless touches of light am
shade in detail which give the sensation of movement. Th
darker figure of Satan plunges away among the distant wood*
Earlier modes of approach to the religious subject are representee
by the late-fifteenth century Baptism of Christ attributed to tfy

32

fan Baptist van Fornenburgh. A vase of Flowers, signed with initials, on copper, 13; 9] inches (35 2 23 5 cm.). 3. Detail from The Day of
'gement, by the Master of the Life of the Virgin (active second half of the fifteenth century, German School), panel, 22 16 inches (55 9 40 6 cm.).
Below. Giovanni Battista Pittoni the Younger. The Sacrifice of Polyxena at the grave of Achilles, canvas, 28A > 2l| inches. (724 y 552 cm.).

Tth Italian artist, Bernadino Butinone (best known for the
.irpiece at Treviglio in which he collaborated with Zcnale) and
e fifteenth century The Day of Judgement of the Cologne
laster of the Life of the Virgin'. The 'Baptism' combines
corative and realistic elements in a way typical of Butinone. In
e 'Last Judgement' there is all the charm of the Cologne School
the delicately executed heads of saints, shown here in detail,
e worthy of Stephan Lochner.

A fine example of dramatic treatment is the Christ healing the
ind now attributed to Giovanni Domenico Tiepolo, though
■rmerly to Domenico's father, Giovanni Battista Tiepolo. In
veral ways, the painting is reminiscent of the latter; for instance
the foreground figure at left. The collaboration of father and
>n was close at the time the picture was painted (1752) w hich
j'ould account for the fact that it reflects something of both, but,
•ide from this, it has an admirable unity and force of expression.
, 'omenico is also represented in the exhibition by a drawing of
1 eighteenth-century group of horsemen in which his personal
uality as a draughtsman is spiritedly displayed.
The Venetian rococo, of which the elder Tiepolo was so
rilliant an exponent, has another example in a work by his
; iccessor as president of the Venetian Academy, Giovanni
ir.ttista Pittoni. The story of Polyxena, daughter of Priam,
tflicted by the murder of her lover, Achilles and facing sacrifice
t his tomb, provided him with the subject of this 'history
iicture'. With less of high tragedy than the classical legend

33

5. Domenico Tiepolo, Three Cavaliers, wash drawing, 7§ X II inches (19 5
■ 28 cm.).

7. Henri Fantin-Latour. Mauves Blanches et Roses dans un vase, signed,
canvas, 20[ • 18 J inches (51 ■ 5 47 5 cm.) painted in 1895.

suggests, the picture shows to advantage the facile grace of
Pittoni's style.

The painting of social life provides a variety which ranges from
the peasant gaiety depicted by the younger Pieter Brueghel to a
scries of Venetian conversation pieces by Pictro Longhi. Unlike
his contemporary, Hogarth, Longhi seems essentially a light-
hearted spectator of the fashionable world and these four pictures
display the vivacity and freshness of vision which characterize his
work. An interesting example of Pieter de Hooch's later style is
included in an Interior with Gay Company. In contrast with his
work at Delft, which was marked by an abstract concentration of
design and effect of light, he paid at this later period more atten-
tion to the story involved; seeking also for weightier effects of
interior chiaroscuro. The tendency appears in this painting of a
somewhat raffish scene, though, as ever, dc Hooch is appreciative
of the effect of a sunlit court glimpsed through a doorway.

6. Pietro Longhi. The artist sketching an elegant company, canvas, 24§ X
inches. (61 9 ■ 49 -8 cm.).

Flower and still-life painting have some fine examples an
beautiful an Ambrosius Bosschaert as one might hope to see is
Flowers in a Glass I 'asc. Typical in general character of tp
Flemish flower-piece of the early seventeenth ccnturv, it j
exceptional in the sensitiveness of drawing and the subtlctv of j
colour. It has a delightful counterpart in the Vase of Flowers, Op
of the rare works of the Dutch painter van Fornenburgh, sign;
with his double monogram. A still-life by the German painti
Peter Binoit (c. 1 590/3-1632), the pupil of Daniel Soreau, \vl
introduced the Flemish art of flower-painting to the Rhinelan
One of this artist's rare works, his still-life of fruit with a Mil
bowl and pinks is notable for a colour scheme in which red ai
yellow sing vibratingly out. The austerity of Spanish art, as pr
nounced in still-life as in other genres, is exemplified in a paintii
characteristic of Francisco Zurbaran.

The charm and originality Lucas Cranach showed in paintin
of the figure, when he applied himself to the classical and allegor
cal subjects which make him unique among German painters 1
the Reformation period, can be appreciated in his Lncretia. I
turning from this to Pierre Bonnard's La Baignade one may coi
sidcr the far distance between a northern reflection of Rcnaissanc
taste and an Impressionist approach to figure painting ; thoud
with all his freedom of technique the modern French painter is
well aware as an old master of the decorative value of dcsigi
Among the many individual facets of interest in this exhibitio
mention is due, finally, of a large painting very much in th
spirit of the nco-classic and romantic epoch, Lady Hamilton as tl
Persian Sibyl by that portrayer of European notabilities, Mm
Vigee-Lebrun. The picture has all the neo-classic soulfulness
was the sitter's peculiar gift to convey to artists, the quality whic
caused Romney to embark on so many projects in which th
famous Emma personifies a muse, a classical divinity or figure c
allegory.

34

[ean Cocteau discovers
ome Modisdianis

ARTHUR S. PFANNSTIEL

N the summer of 1959 the late Oswald Goetz, Director of the
Parke-Bernet Galleries in New York, came to sec me in Ham-
irg to ask my advice regarding the authenticity of a portrait of
e poet Jean Cocteau painted by Modigliani. This portrait, of
bach Mr. Goetz showed me a photograph, had been reproduced
the magazine Arts in Paris, in April 1959, and the article in-
catcd the discovery in Spain of several works by Modigliani.
I must admit that this photograph did not enable me to give a
•finite opinion, but it showed that this discovery demanded
osc investigation. That is why 1 got in contact with M. Jean
octeau and the owner of the works in question. The important
nnber of drawings and paintings discovered was the reason for
1 investigation which lasted several years, during the course of
Inch I came into contact with, besides the people mentioned,
>me friends of Modigliani who had known him well and who
ill live in France.

In April, 1964, I decided to go to Spain to examine the works
id to question the members of the Spanish family who owned
iem. My impression from the start was positive, and was con-
rmed during the course of the investigations. I found a certain
umber of studies or sketches which seemed rather to give an
npression of finished works. Although there were one or two
mall things of no importance — simply fragments of studies —
here were others, such as Les Maries, the Portrait of Soutine, The
oung oirl with Plaits, and above all, the Portrait of Jean Cocteau —
vhich arc of finest artistic quality and carry in an unquestionable
naniier the genial stamp of Amadeo Modigliani. It was simply
stounding.

There are four portraits of the Academician, poet and friend of
vlodigliani, Jean Cocteau. One is drawn on a blank page of an
;nthology of engravings and decorative motifs of the eighteenth
md nineteenth centuries. Another on the ribbed back of a sketch
wok. A third — and this is the most important one — is done in
pencil, indian ink and sepia colours on wood, an ordinary piece of
wood on the back of which the artist has done a beautiful study
}f a young woman. And, finally, a striking study on a bit of ply-
wood. This head of the young poet is particularly moving. To
the left at the bottom is the inscription: To the Poet 19 17 Modi-
gliani to Cocteau.

If the odyssey of these works seems extraordinary, the corres-
pondence and the letters of Cocteau leave absolutely no doubt of
their complete authenticity. Jean Cocteau writes thus in his

fleeter of 23rd January, 1959: 'Modigliani painted my head before
undertaking the large portrait now in the Pearlman Collection in
New York. He sold it to me for 5 francs. So goes the world. And

[ since this present from Modigliani is no longer with me, I would
be very grateful for an excellent and large photograph to be

' printed for me, which could serve as Frontispiece. Thanking you

' in advance, Yours, Jean Cocteau.' (No. 1.) Jean Cocteau told me
that he had left this portrait with Modigliani at his request be-
cause he needed it to work on the large portrait now in the
Pearlman Collection.

We must not forget that there are still other studies in various
collections of portraits of Cocteau.

mm

I. Portrait of Cocteau, study on wood, 46.5 36.5 cm., inscribed 'Modigli-
ani a Cocteau'. Cf. the large portrait in the Pearlman Collection, New York.

Why were there so many drawings, so many studies for this
portrait of Cocteau ? Do not people in Paris and in Italy say that
Modigliani never did the same portrait twice; Yes, people say so.
But they are in error in doing so.

At Dr. Paul Alexandre s house in Pans I have seen oil paintings
in reds and blues on boards measuring about 364 25. 1 inches
representing caryatides which resemble each other so closely as to
confuse one. Modigliani did these caryatides two, three and four
times. The drawing is, with some minute variations, identical,
the colours themselves differing sometimes.

His friend and companion from 1906-1917, the famous

35

2. Les Maries, study on wood, 66 > 27.5 cm. Cf. the oil painting ex Collec-
tion Paul Guillaume.

3. Letter from Cocteau to M. Ribas, mentioning the sketch Les Maries.

German expressionist painter, Ludwig Meidner, wrote in hi
article 'Memories of Modigliani' published in Berlin in 193 1 11
the Kunstblatt, Year 15, pages 48-52: 'Our artist (Modigliani) inhi
early years in Paris painted only small portraits in few colours
often on a thick canvas or on smooth boards, the results of whicl
resembled Lautrec or, with grey-green tones, reminiscent o
Whistler, and which already seemed to me at this period to b(
very interesting. And, to give these paintings depths and trans-
parency, Modigliani added, if the colour was dry, a colourec
varnish, so that there were sometimes ten layers of varnish one 01
top of the other, which made the painting resemble the golder
tones of old masters.

His method of drawing also interested me very much. Ht
generally drew on a thin paper from the model, not finishing the
sheet but putting another white sheet underneath and a piece of
black lead paper above. He would thus trace the original draw^
ing, simplifying it, and this method rarely failed. He thus
obtained very beautiful results.'

This excerpt from the memories of Ludwig Meidner is there-
fore very revealing and important for historians. It proves that
Modigliani often repeated his drawings, and he did the same with
his painted studies, with the object of simplification, more
characterisation, and to augment the values of the composition
or the desired effect. Just as for the drawings and caryatides, so for
certain paintings such as the Portrait of Cocteau, Les Maries, the
Portrait of Soutine of Jeanne Hebuteme, and at the beginning
(1907-1909) of Paul Alexandre.

But this in no way prevented him from doing a portrait with

36

e stroke on the paper, or from finishing a painting in a single
ting. We must remember the numerous drawings done
ridly in cafes. And 'Pere Cheron', previously an art dealer in
s rue La Boetie, Paris, told me that he had sometimes shut
odigliani in a room with his model and some bottles of wine
d painting materials, and that the artist finished his painting in
hour or two in a single sitting. That was in 19 17. But this
ample seems to be an exception, for the famous sculptor and
end of Modigliani, Lipchitz, describes the double portrait that
odigliani did of him and his wife: 'He (Modigliani) came the
xt day and did a quantity of preparatory sketches, one after the
her, with astounding speed and exactitude, as I have alreadv
id.'

This passage proves, once more, what was said above: that
"fore undertaking a portrait, which he wanted to do, Modi-
iani did numerous drawings and studies. This explains the
.imber of drawings and studies of the portrait of Cocteau
mnd in the Ribas Collection in Spain. In this Collection there
a study for the oil Les Maries (ex Collection Paul Guillaume,
aris) which is extremely important and interesting if not re-
galing, of his method of working.

This beautiful study is painted on a piece of ordinary wood
jout 2 centimetres thick measuring 66 ■ 27-5 cm. It is signed
:ntre right, and is done with a thin diluted paint with traces of
astel and indian ink. The veins of the wood show through.

hich augments the charm of the work even more (No. 2).

Cocteau well remembers this study and writes on 9th January,
961, to M. Ribas: 'Concerning the sketch "Les Maries", I can
nly say that I saw it in the studio that Kisling shared with him,
ue Joseph Bara. Yours, Jean Cocteau.' (No. 3.) Cocteau even
Jund that this painting concerned the initial work on the canvas
Jr Les Maries, and he indicated on a photograph that a knot in

4. Extreme left. Portrait
of Soutine, painted on
wood, 54.5 X 32-5 cm-
inscribed 'Modigliani a
Soutine'.

5. Left. On the reverse
of No. 4, unsigned
Portrait of a young girl
with plaits, of which a
canvas, with certain
variation, exists.

the wood had given Modigliani the idea of the large ear-ring that
one can see in the oil painting.

Another painting in the Ribas Collection is a striking portrait
of his friend, the painter Soutine. At the bottom of the work is
inscribed Modigliani a Soutine 1918 (No. 4). It is painted on
wood. Modigliani has used indian ink, sepia, half-tones, violet ink,
traces of blue, and has painted the mouth in a deep rose-red. On
the reverse of this remarkable work is a Portrait of a young girl
with plaits of which there also exists, with certain variation, a
canvas. This painting is of extremely fine quality and is not
signed; and in the lower right corner there is a little sketched
caryatid (No. 5).

These works in the Ribas Collection were given by Modigliani
to a friend, a Mile L. Charpentier who lived at 4 bis rue de la
Grande Chaumiere (beside Modigliani's studio) on the same floor
of the studio flat of M. Ribas' mother. This young girl moved in
artistic circles in Montparnasse.

Ill with septicaemia, Mile Charpentier was taken to the Laened
Hospital where she died in 1937. Madame Ribas was the only
person who looked after her and helped this poor girl financially.
To showr her gratitude Miss Charpentier left Madame Ribas such
furniture and objects that she possessed. Among these was a
suitcase in which she kept 'souvenirs that an Italian friend had
given her, who has died 15 years before, Modigliani;' The suit-
case contained papers, sketch books, paintings on wood, some
books with paintings and drawings. A sad end for this gentle
friend of Modigliani. whose death had been equally tragic.

Thanks to the hard work of M. Ribas and of M. Jean Cocteau
it has been possible to authenticate these works and to bring
them out of the past and make them known to the world. It is
hoped to be able to exhibit them this summer at the O'Hana
Gallery in London. Translated by Jacques O Hana

37

A hundred years of
J. F. Herring, senior

TH I S year marks the centenary of the death ofjohn Frederick
Herring, Senior, and it is fitting that one of England's best
painters of sport on the race-course and in the hunting-field
should be commemorated by the current exhibition in London
of about thirty of his works at Messrs. Ackermann's (3 Old Bond
Street). The exhibition continues until May 15, and covers the
artist's versatility in racing, hunting, portraits of racehorses,
coaching and stable interiors.

The Start for the Derby, dated 1845, in which Herring seized on
the moment when 'Alarm' kicked at 'The Livel' who in turn
jumped on 'Alarm' throwing Flatman thejockey to the ground,
is one of the most dramatic sporting pictures ever painted. 'Alarm'
ran away, was caught and subsequently took part in the race
which was won by 'Merry Monarch'.

The Meet of the East Suffolk Hounds at Chippenham Park, show-
ing the Master, George Mure, and other notabilities in the fore-
ground, is a familiar hunting panorama with a stormy sky.
George Mure served in the Grenadier Guards at Waterloo.

Like Stubbs Herring could be ingeniously effective in arrang-
ing animals in an unusual background, and the picture Wild
Horses in a Mountain Landscape, obviously an improvisation, is
none the less convincing, especially as regards movement of the
horses. Signed and dated 1854, it proves the artist's undiminished
powers as he grew older.

I regard the Interior of a Stable with a Grey Horse, seated Man and
Standing Girl (probably Herring's daughter) as a beautiful work.
The painting of the horse is superb, and well known as Herring's
favourite model 'Imaum', an Arab that appears in many of the
artist's pictures.

Emilius, signed, inscribed and dated 183 1, is one of hundreds of
race-horse portraits that Herring painted throughout his long
career, and is pictorially attractive because the artist has used the
trees behind the st.ibles to enrich the composition. Emilius won
the Derby in 1823.

The Grand Stand at Ascot, Preparing for the Start is a remarkable
tour de force of detail, both as regards horses and people in the
stand. The young Queen Victoria, then aged twenty, and attend-
ing her first race meeting, can be clearly identified with the aid of
an enlarging glass.

The London-Edinburgh Royal Mail Coach was painted in the
same year, and reminds us that Herring was himself a coach
driver during the early part of his life. He must have been un-
usually good with the ribbons since he 'commanded' the 'High-
flyer' coach that plied between London and York, said to be the
fastest on the road.

There is an amusing self-portrait of the artist and his younger
brother Ben, standing full length in their best clothes and top-
hats in some ancestral garden with a classical temple in the back-
ground. They look simply first-rate, men of quality and sub-
stance, not to say breeding, rather than artists. How pleasant also
to meet John Mytton again in hunting costume astride a chestnut.
This is distinctly a thoroughbred show.

3. Interior of a Stable with grey horse, 33J x 45J inches. The Hon. P. J.
Fairfax Collection.

I. The meet of the East Suffolk hounds at Chippenham Park, 42 ■ 63 inche
The Lord Rothcrwick Collection.

2. The alarm, wild horses in a mountain landscape , 24 36 inches, signe
and dated 1854. The J. J. Quelch Collection.

$8

mpressionists
t the Kaplan

/ \STAIR GORDON

' is better to say that the most fecund cycles in art have their
iants than to say that they have their minor masters. For there
i level of first class talent which is typical, and from this sprouts
, mdful of genius which is above and beyond the range of the
i m. Impressionism was the credo of some fifty painters, all
rking together at the same time and in the same country. As a
w for freedom and a rebuttal of convention it could never
c any formal rules or canon of aesthetics; its essences were the
ting moment captured and the apprehension of light and
losphere at the expense of construction and design. Such in-
stantial means inevitably led to a perilous balance between
ellence and defeat, so that only painters with sound tech-
ues and artistic sensibility could trap the sunlit moment with
acity.

f the painters now being exhibited at the Kaplan Gallery are
of the front rank, they did have the spiritual equipment and
nterly ability always to achieve this veracity; and to achieve it
.11 is a great deed, because of the mercurial nature of the mani-
ation that had to be anchored to the canvas.
:urthermore one must look at these lesser Impressionists
iinst the position of the greater ones. When one considers that
met was one of the half dozen or so great colourists in history,
t Pissarro at his best was the equal of Constable, that Renoir
s as sensuous as Titian, that Degas could draw like Rubens,
n one is made aware that there is nothing derogatory in being
. than such as these. Some of the painters in this show are
rcely known outside the specialist field, and yet there is not
E who does not display glowing quality and mastery of his
>sen mode of expression. According to their individual per-
talities they set about the Impressionist task. To take two paint-
;s of Notre Dame — Lebourg saw it glowing pink and myster-
is m the sunset, hovering romantically in the middle distance
his mind, while Picabia (who was firstly an Impressionist)
v it as solid stone that has movement and flexibility imparted
it by the play of sunlight on its sublimely carved surfaces and
: animation of the surrounding City.

Henri Martin, almost professional in his analysis of the colour of
llight falling on material objects, saw too that sunlight danced,
mimered, played optical tricks, was glorious and was fickle.
'What is endlessly fascinating about the Impressionists is their
ility to bury the drawing of trees, water, building and people
der a riotous feast of brilliant and disturbed pigment without
sing any definition. Consider, for instance, how Loiseau handles
c technically difficult task of delineating the point where solid
•jects meet waterline, or the flashing shorthand with which
ice moves clouds across his sun-drenched Bords de la Seine. To
is day there are ten thousand pedestrian painters whose loose
ush-work is loose in every other respect as well. You will never
id this mental flabbiness in the glorious half-century that is re-
esented with such distinction in this enchanting exhibition.

3. G. Loiseau. La riviere a St. Cyr de Vaudreuil, 26 ■ 32 inches.

39

I. Under the Hill, watercolour, 31^ X 53 inches.

Edward Burra, singular visionary

NEVILE WALLIS

THE Lefevre Gallery may be best known abroad for its long
and distinguished association with the mainstream of Con-
tinental art since Degas. But it also gives enlightened support to
some English painters who, at times, have been thought idio-
syncratic to the point of eccentricity. In fact, however, Edward
Burra at sixty is our one consistently imaginative survivor of that
Surrealist handful which became a force in British art in the
middle 1930s. His latest exhibition this month at the Lefevre of
strangely portentous landscapes and blossoms, with apparitions
as menacing as his swooping, predatory birds, is sometimes
coloured by recent impressions of Ireland. But always these huge
watercolours are transfigured by the images which Burra's sub-
conscious mind casts up before his inner eye. When his imagina-
tion is stimulated to its highest pitch, we may be conscious of the
hallucinatory inevitability of dreams.

Mr. Burra's baleful art puts one in mind of the orchis militaris,
that exotic, poisonous flower. But the sinister atmosphere of his
scenes is often tempered by a certain sly mockery. His ruthless,
swarming soldiery can seem to belong more to the mediaeval
masque than to the violence of the modern world, though the
dumb show of Burra's stage is forceful enough. No commissions

were ever more apt than his scenery and costume designs f
three ballets, Rio Grande, produced by the Carmago Society :
1931, Barabau and the Miracle in the Gorbals, produced by tl
Sadler's Wells Company in 1938 and 1944. After his studei
period at the Chelsea Polytechnic and the Royal College of A
he seems never to have used a model, working from memory a
imagination in the seclusion of his house at Rye.

Each biennial exhibition is purely a progress report, and tl
Lefevre is hoping to arrange a full-scale review of Burra's woii
in suitable premises later on. This would show how eclectk
though entirely distinctive, his earlier compositions have beei
inspired mainly by Spanish and Italian masters, as well as by
voracious reading of Elizabethan and foreign literature char;
terised by the terribilita which chiefly powers his art. To Signo
elli he first owed the hard simplicity of his modelling. Pcrhaj
Signorelli's vision of Hell in the Orvieto fresco cycle implante
the ideas of seething masses of vigorous, muscular devils entirel
human in form, though with the colour of rotting flesh. J
metallic structure is combined with an impeccable sense c
design and twining ornament in satiric compositions such as L<
Folies de Belleville of 1928. In his scenes of Latin low life, ofte

+0

tixed Flowers, watercolour, 31 344 inches.

h matelots and demireps, the feeling of corruption is pun-
ldy conveyed. Something of the cynical disillusion of Georg
isz underlies Burra's wiry pen decorations of cabaret habitues
this time. With the Spanish civil war his imagery becomes
>st disturbing and Surrealist. From this crucial moment his
uences are fully assimilated in a unique style, broadly follow-
; two courses. First, we have Burra's more straightforward
dscapcs, as when he spies from Rve some fair dispersing along
silent coast and invests it with uneasy melancholy. Then there
the products of his extravagant and grotesque imagination in
tasies ot saturated colour, usually broader, more flowing and
itted in technique.

His latest pictures on view are generally of this conceptual
id. A glimpse of cars being dug out of a snowdrift may have
Iged in his memory and gradually assumed sinister overtones,
us germinates a bizarre, yet finely interwoven design in plum
1, dark greys and white, with a pink radiance suffusing the sky.
, monstrous pile-up on an arterial road introduces Burra's
iziest element, provoking the sensation of a melodramatic
llision in Disneyland. And why not: The narrative ebullience
:ords, indeed, with a great deal of recent literary painting —

ire thin-blooded, however, and with little of Burra's imagina-
'e compulsion behind it. This unwavering visionary, who made

little impression upon informed opinion for years after the
spersal of Unit I Group, has the last mirthless laugh nowadays.
Other pictures here in Burra's curiously macabre vein recall
ore clearly his enigmatic maimer on the eye of the last war. The
ugh gang dancing en rand called The Straw Man is more haunt-
g than The Juke Box, partly because the design is more dynamic-
py conceived, the surging movement of throngs having become
major concern of Burra's since the war. Both watercolours,
)wever, are vivid examples of the inauspicious conclaves which
■r so many years have passed across the screen of his inner
sion. The juke box has merely replaced the wine bottle in the
ilors' joint in some Mediterranean port. His is often a grandiose
id florid dream world, if you will ; but still it can attain a fierce
randeur. I believe indeed (as I wrote when introducing Edward
urra in my Critic's Choice exhibition at Tooth's Gallery) that his
isions inspired by the teeming imagery of the Gospel have been
nong the most imaginative achievements of post-war painting.

3. The Straw Man, watercolour, 3lj x 445 inches.

4. Winter, watercolour, 52J \ 31J inches.

41

The Connoisseur's Diary

Caravaggio and Italian painting of the 18 th century in Paris :
Wedgwood at Wisconsin : Dr. Crotch and Norwich

DURING March and April the Grande
Galerie, the Salon Carre and the Salle des
Etats at the Louvre underwent a remarkable
transformation. They had been rehung with a
loan exhibition consisting of fourteen paintings
by Caravaggio and of one hundred others by
Italian artists of the seventeenth century. The
visiting pictures, mostly unframed, came from
churches and public museums in Italy, to which
a group of fourteen of the Louvre's own collec-
tion, a little unfairly enhanced by superb frames,
played host. The result was a spectacular mani-
festation of Italian painting represented by no
less than sixty artists !

Its purpose was quite frankly didactic. It was
meant to instruct a non-Italian public in the
achievements of a century more abused than
studied — the Age of Baroque. It has long been
out of fashion. Baroque, says the Century
Dictionary summarizing the almost universal
judgement of the nineteenth century, implies
the presence of ugly and repellent qualities.
Clumsy forms, contorted ornaments and mean-
ingless scrolls are among the other characteristics
assigned to it within its brief and damning
definition. Since the war, the Italians have led
the world in a re-assessment of that fantastically
misconceived view. This exhibition could there-
fore be looked upon both as a self-contained
offering in the framework of Franco-Italian

cultural relations; also, however, as the latest of a
great series of exhibitions hitherto mounted in
Italy itself with the aim of rescuing from disdain
and neglect one of the world's most creative
periods in the arts. In the result, it stabbed the
heart and shook the soul with wonder.

Caravaggio dominant

The majority of the pictures were religious.
This was partly because the greatest manifest-
ations of profane painting of the seventeenth
century are in fresco — in Rome alone and to
name only the most famous, the Farnese Gallery
decorated by the Carracci, the Gloria dei
Barberini in the Barberini Palace by Pietro da
Cortona, the Aurora in the Casino Rospigliosi
by Guido Reni, the Casino Ludovisi by Guer-
cino, the beautiful decorations in the Quirinal by
Lanfranco; partly also because the prevailing
chord was the theme of sanctity. The Italians of
the seventeenth century may not have practised
it, but they painted it superbly. It was 'le grand
siecle des ames'.

Turning to the pictures themselves, the dom-
inating group were the Caravaggios. These
included the three famous scenes from the Life oj
St. Matthew from the church of San Luigi dei
Francesi in Rome. Caravaggio received payment
for them from funds bequeathed by a French
cardinal, and they are the property of France.

The most dramatic of the three, the martyrdu
of St. Matthew, depicts the act of killing in 1
its stark brutality — yet we can now see, thai;
to X-ray photographs, how greatly the violei ;
of the scene was toned down. In contrl,
physically and spiritually, were a wonder 1
group of Bolognese. Here were the painters f
light and joy rather than of shadows and drai .
glowing with colour and revelling in the beai
of the human form. In the dialogue between th,
two schools, where the fathomless richness ^
the seicento was so fully revealed, no flight!,
the human spirit would seem to have been
unexpressed. When will it be London's turn?

William Crotch in Norwich

FOLLOWING are details of the Crotch si-
jects (see p. 31, below Note 8) in the Ca;:
Museum, Norwich: Landscape. Oil on cam.
30 1 X 25} ins. Old label on stretcher: 'Paintedl"
our dear [Fr]iend/ William Crotch Mus Doc.
given by him to me EB Frere in the Spring f
1835.' On loan from Ipswich Museum since 10
River view (1.48.940). Watercolour, io\
i6\ ins. Inscribed in pencil top, right of cenr
'Mr. Brilknills Meadow. Oxford'. Inscribed 1
reverse in ink: 'From the bridge by Mr. Hi
Oxford/ Win Crotch April 1801. 8 am.' And
pencil: 'Revd Mr. Barnard (Pupil of Malcli.;
liked this'. Presented by W. Bennett in lg
Organ Screen, St. George's Chapel, Wind
(2.48.940). Watercolour, 8-$ X 5^ ins. Inscrib
on reverse in ink: 'The Organ Screen . . . . j
S Aisle/St George's Chapel Windsor/July
1832 1 pm.' Presented by W. Bennett in 19
In Mr. Schutze's Grounds, Shotouer (1.156.9s
Watercolour, iof X 17^- ins. Inscribed
reverse in ink: '1805 Sept 8th J before 2/In It
Schutze's Grounds/Shotover Wm Crotch
very high wind.' Presented by the Norw
Libraries Committee in 1955. Heath field Pa
Sussex (2.156.953). Watercolour, iojjf > iS
ins. Inscribed on reverse in pencil: 'Heathht
Park Sussex - the Church & ye Sea abc
Herstmoncaux 6V Hastings/F Newbery's Esc
W Crotch delt./Aug 17 181 1 1 PM.' Prcscn
by the Norwich Libraries Committee in
House by a lake (1.59.20). Pencil, 8^ X iofi
Inscribed on reverse in pencil : 'Sir Wm Clayta'
Harleyford/Dr Crotch Augst - 27th 6 P.Mj
Cath. Sharp Octer 16th 1806-.' Presented
G. E. Lloyd-Barker in ig20. Hurley, Berks \
Mr. Kempcnfelts Wall (2.59.20). Pencil, 7$
8| ins. Inscribed on reverse in pencil : '[ f/sideva
Mr. Wilcocks ! - /Hurley Berks. - Mr. Kempe
felts Wall - /Dr. Crotch Augst - 23d - 9.A.M
1806/Catharine Sharp - 1807 - Fcby - 23d •
And also 'St Mary's Abbey? - Mary, Wm,
James/Pears? -'. Presented by G. E. Lb)
Barker in IQ20. Hurley - Revd Mr. Pears Hoi

Originated and organized by its Director, Richard N. Gregg, Paine Art Center, Oshkosh, Wisconsin,
are running (until June 27) a major loan exhibition entitled 'What is Wedgwood?' These are two of
the 300 exhibits: creamware vase and cover, i6i inches high, with green granite glaze, Wedgwood
& Bentley wafer mark (Collection Mr. and Mrs. Lawrence Pucci, Chicago); and, right, rare trial
specimen, unmarked creamware, dessert plate made for Catherine the Great. This trial is executed
in enamels, Chelsea, c. 1774 (Collection M. Mellanay Delhom, Chicago).

42

(. Bust of Charles Gamier, architect of the Paris Opera House, in terracotta, 1869, by J-B. Carpeaux, an exhibition of whose sculptures and drawings
1 open at Mallett at Bourdon House, London, on May 24. Centre. A 7} inch high Chinese lacquer brush vase (Pi Tung), acquired by the British Museum
in Douglas J. K. Wright of 17 Piccadilly Arcade, London, S.W.i. Right. Another important museum acquisition: one of a pair of 23^ inch high rare
:umentary Chelsea porcelain vases, the celebrated Foundling and Chesterfield Vases, acquired from Winifred Williams (Antiques), 38 South Street,
tbourne, by the Victoria and Albert Museum. Photograph Victoria and Albert Museum, Crown Copyright.

S9.20). Pencil, 8^ X n^g ins. Inscribed on
erse in pencil: 'Hurley - Rcvd Mr. Pears
■use Mr. Kempenfelts Wall (Hurley Place)/
. Crotch Augst - 27th 1806 - £ past 4.P.M./
Sharp Octcr - 15th 1806 -.' Presented by G. E.
<yd-Barker in 1920. The Cliff at Hurley
59.20). Pencil, 75 X 12^ ins. Inscribed on
erse in pencil: 'The Cliff at Hurley - Berks. -
•w Lock - /Dr. Crotch Augst - 28th 1806 -
P.M. - /Cath Sharp Feby 21st 1807 -.'
■salted by G. E. Lloyd-Barker in 1920.

Monaray's Man-of-War

3W much Peter Monamy (c. 1670- 1749) and
muel Scott followed and were influenced by

iht. Seen at Prides of London, 180 Sloane Street,
ndon, S.W.I : this unusual Adam period mahogany
i-table incorporating a desk, 36 X 18 inches (closed).
low. Silver inkstand, ll£ X 8 X 3 J inches, presented
the British Government to the Government of
imbia. The engraving was executed by D. & J.
ellby of 30 Dover Street, London, W.i.

the Dutch tradition of marine paintings, as
practised by the van de Veldes, is clearly seen
from the detail of Monamy's A calm with an
English man-of-war saluting illustrated on our
front cover. His work is now more than ever
esteemed by collectors of British art; one of the
earliest being the late Sir Bruce Ingram, from
whose collection this particular work originated.
It was exhibited at the Royal Academy ('British
Art') in 1934 (No. 230), and now belongs to
Messrs. Leggatt Brothers, London.

Department of Errors

I ERRED on this page in the April number, and
apologise to Messrs. Christie's for having done so,
in mis-crediting the sale of the miniature, The
Holy Family, by Peter Oliver, the Correggio
subject of which was originally identified by
Mr. David Carritt of Christie's. An odd, but so
tar uncorrected, error also appeared on the art
auctions page of a London daily last week : a
pair of paintings of Matlock, by S. Sabin, were
bought by Wright of Derby.

43

I. Rouault, Le Reveil d'Ubu, 1938, 48 x 62 cm., Galerie Charpentier.

Paris Dispatch

FROM GERALD SCHURR

Some unknown Rouaults

GEORGES ROUAULT,whodiedscvcn
years ago, occupies a place apart among the
'Greats' of modern painting. The Galerie
Charpentier (76 fauberg Saint-Honore until
May 30) is showing about a hundred works
which have never before been on view. Some of
those chosen come from the inheritors of the
Ambroise Vollard Collection, the others form
the set of the Passion, fifty-four paintings from
1930 to 1936 which Rouault did before engrav-
ing the plates on the same theme. It is a beautiful
unity : all these canvases, which now belong to a
private American society, are the same size as
the projected engravings; and have been set by
the painter himself into a grey-blue passe-
partout which acts like a jewel case to these
brilliant gems of composition.

From the Dutch Institute in Paris
to Antwerp Museum

FRITS LUGT has recreated for us the 'Decor of
private life in seventeenth-century Holland".
College and cabaret scenes, family portraits, and

markets are evoked by paintings and drawings,
while the comfort peculiar to a Dutch home,
composed of silence, meticulous tidiness and a
great feeling of intimacy, is recreated by the
presence of marquetry furniture and the bright
notes of pewter and Delft pottery set on it.

This exhibition, has, in one respect, a pendant
show at the Antwerp Museum of Fine Arts in
Belgium, with the idea of placing the painter in
the surroundings and milieu he used to have.
We thus participate in the evolution of about a
hundred masters from Northern countries
chosen from all centuries. We can recognise the
familiar setting of Van Eyck, James Ensor, and
Van Gogh, while seeing others for the first time.
A painter's self-portrait is always moving, and
we know, of course, that ever since painting has
been in existence, all an artist's canvases reflect to
some extent his hopes and fears and thus his
'self-portrait' is infiltrated through his work.
But to see the actual features and background of
a man who has so often represented for us those
of other people is like penetrating his innermost
thoughts and coming face to face with a
magician. We can only deplore that such an

important collection, which cost so much effo
on the part of the organisers, should not ha\
found a roof in some French or English museui
after its closure on March 14.

Caravaggio at the Louvre

THE importance of the revolution wrought
painting at the end of the sixteenth century b
Michelangelo da Caravaggio has only just bee
recognised in the last thirty or forty years. Th
exhibition at the Louvre (until April 30th
'Caravaggio and seventeenth-century Itali
painting', gives us an opportunity to compare
those chiaroscuro painters who were plunged int
realism in the wake of a master who has bee
curiously scorned for more than three centurie.1
Caravaggio himself is represented in the Saloi
Carre by fourteen canvases from Rome, Naplc
and Palermo; works so forceful that his follow
ers' paintings, hung together in the Grand
Galerie, seem rather overshadowed beside them
Apart from giving us a chance to examine a
close quarters works by Caravaggio which, onh
too often, are difficult to see in their Italiai
churches, the exhibition is interesting because i

44

Jan Steen, The writing lesson, panel, 19 X 17-8 cm. Dutch Institute. 3. Caravaggio, The Madonna with Pilgrims. (Rome, Church of Saint Augustine.)
chibited at the Louvre.

lows us to put into proper perspective the
isition of the disciples of this inventor of
ituralism, those who George Isarlo brought to
;ht again and examined in his important
laravage et k Carauagisme europeen?

Kuchenmeister Paris — Munich

AINER KUCHENMEISTER is showing at
le Galcrie Lacloche (8 place Vendome until
lay 30) a dozen or so beautifully austere paint-
lgs on wood. The forms are there to be guessed
t, one might say, leaving the spectator his part
1 the creation and achievement. There is some-
ling dramatic in these bare, rudimentary, but
lonumental forms. This thirty-nine-year-old
Jerman painter is exhibiting a group of recent
i-atercolours in Munich at the same time
Stangl Gallery until May 30).

The annual exhibition of Bernard Buffet

iRAVITY is here transformed into melodrama.
I These giant portraits have elongated features
which stretch into immense verticals. The
ibsessional character of these faces, impersonal
□ their asceticism, the fixed stares and open
nouths, and the livid skin stretched over the
Dony skull, create an almost insupportable
uneasiness in the spectator. One may deny
Buffet the qualification of painter (these stereo-
typed features are coloured designs more than
paintings), one may be allergic to the literature
and snobbism which are inseparable from the
Buffet cult, and which paralyse all objective
judgement, but it seems difficult not to be affected

by the rather morbid attraction of his nightmare
visions (Galerie David et Gamier, 6 avenue
Matignon).

Van Hecke seascapes

ARTHUR VAN HECKE (Galcrie Synthese,
66 boulevard Raspail) is the inspired songster of
the great open spaces of the northern beaches,
where sea, dunes and clouds merge, in nature's
ambiguity, into long grey stretches. Van Hecke
was discovered ten years ago by Roger Dutilleul,
an art lover and patron who has the most dis-
cerning eye of the century for young talent.
This artist is, dare one say it, the representative
of informal subjects; his innate lyricism is
bewitched by the most unpromising elements.
Aided by an astonishing visual perception he
lifts his brush, and lets it fall until he leaves only
an evocation — singularly powerful and 'present'
— of the motive which first moved him. 'Van
Hecke poete de l'cspace et du dedans' is a perfect
definition given to him by another poet of
'La France flamande', Emmanuel Looten.

Exhibitions (May)

Musee des Arts Decoratifs: Treasures from the
Churches of France (extended until May 30).
Musee National d'Art Modcrne: Calder.
Musee du Havre: Prassinos.

Musee de Marseille : Lurcat : Le Chant du Monde.
Mannheim Museum: Roberto Crippa.
Cassel Museum: Kirchner (State Museum).
Darmstadt Museum : Flemish painters of today
(until May 16).

4. Kuchenmeister, Personnage, Galerie Lacloche.

45

£>

Contributed by Adrian Bury

Norwich School

A GRACEFUL tribute to the memory of
the late Viscount Mackintosh of Halifax is
the current Norwich School exhibition at the
Lowndes Lodge Galleries (Cadogan Place,
London S.W.i), containing several important
pictures from Lord Mackintosh's collection and
kindly loaned by Lady Mackintosh. What a
pleasure it is to see again that masterpiece, The
Beaters, by John Crome, a detail of which was
illustrated in colour on the cover of The Con-
noisseur in November, 1963. Another great work
is The View on the Wensum. The large water-
colour by John Crome entitled The Glade is the
sketch for the oil painting that was lost in the
Titanic disaster.

From America comes a little-known but very
impressive version of Bruges River, probably a
successful collaboration between old Crome and
his son John Berney. The surprise of the exhibi-
tion, however, is a James Stark Coast Scene near
Runton, Norfolk. Fully signed and authenticated
it is none the less quite unlike any Stark in my
experience ; but there are some typical landscapes
by this artist, one of which has the appearance of
having been painted in Windsor Great Park.
With what realistic force Henry Bright could
express rock form; there are some excellent oil
and pastel studies by this master. The Cotman
family, including John Sell, is well represented,
as are the Stannards, conspicuously by Eloise,
with two fruit pieces; Lound, Vincent, Colkctt
and that genius who died young, John Middle-
ton, all remind us how beautiful the English
countryside was before the car and planners took
possession of it.

French Masters

IN my opinion the most desirable picture at Mr.
O'Hana's forthcoming summer exhibition (13
Carlos Place, W.i) is the Sisley entitled The
Barrage, St. Mammes. The scene is the junction of
the Seine and Loing Canal not far from Fontaine-
bleau. Equally true to effect is Monet's Moret,
dated 1900, which comes from M. Michel
Monet's collection. A Cezanne landscape, dated
1867, is particularly interesting as showing this
artist's early approach to powerful interpreta-
tion of form. A Pissarro Washerwoman dated
1900, a Vlaminck Fishing Boat, a Chagall
Flower-Piece with Figures are typical examples
by these masters.

Several Nationalities

AN exhibition of exceptional charm and variety
of styles and nationalities is now running at Mr.
Brian Koetser's Galleries (38 Duke Street, S.W.i)
and perhaps the most important picture there is
Joos De Momper's Landscape dated 1629. Jan
Brueghel's Holy Family, so influenced by Rubens
that it was long regarded as by this master, is
really 'signed' by Brueghel in the little vase of
flowers to the left. There is another Brueghel of
a landscape with farm carts, cattle and peasants

John and Berney Crome. View on the Bruges River. Included in an exhibition of Norwich Scho.
Paintings. Lowndes Lodge Galleries.

and a long-distance view of a town seen through
an arch of trees. An exquisite miniature no larger
than 4 x 3 in. of a guitar-player seated on the
steps of some palace and looking through
columns to other stately buildings is a marvel of
concentration of much pictorial interest in so
small a space. In perfect condition is the Madonna
and Child and St. John by the French artist, Louis
Jean Francois Lagranee (1725-1805), who, after
winning the Prix dc Rome and considerable
success in Italy and France went to Russia where
he became Director of the Beaux-Arts Academy.
An impressive large picture is the improvisation
on landscape form and incident by G. Honde-
coetter, which shows a strong influence from De
Momper. These are a few of the more important
works in a collection of forty-eight containing
pictures by Dutch, Flemish, French, Italian and
Spanish artists.

The Hazlitt Galleries

THE exhibition of Italian Baroque and Rococo
pictures at the Hazlitt Galleries (4 Ryder Street,
S.W.i), is the sixth of the series, and I would call
attention particularly to a Pompeo Battoni en-
titled Flora, holding a vase of flowers. Remark-
able, too, is the Crespi study of a young
peasant woman entitled La Pulce. Apart from the
tine figure painting it contains several admirable
passages of still-life. Two works by Corrado
Giaquinto (1703/65) are sketches for the altar-
piece in the Church of the Assumption, Rocca di
Papa, and the Apotheosis of Spain, one of a series
of large paintings in the Royal Palace, Madrid. It
will be recalled that Giaquinto went to Spain to
take over Luca Giordano's position of painter to
the court. Two landscapes obviously under the
influence of Claude are by Van Lint and Gaspard
Dughet, the latter being a'finc and forceful study

of trees, mountains and figures. Carlo Carlone
represented by a dramatic sketch of the cruc
fixion and Zuccarelli with a charming litt
religious picture of the Flight into Egypt.

Though Bcrchem was a Dutchman he conn
appropriately into this exhibition with a ver
Italianesquc decoration entitled Spring. Th
work is one of a series of Seasons. Summer is in th
Central Museum, Utrecht, the destinations c
Autumn and Winter are unknown, but the fift
of this series entitled The Elements was exhibite
at the Hazlitt Galleries in 1962 and is now ii
America.

East Indiaman at Sydney

A GLANCE at a picture of the East Indiamai
Mellish (Parker Gallery, 2 Albemarle Street, W.i
convinces one that the artist, William Johl
Huggins, knew all about the structure and de
tails of such vessels. This knowledge was gaine<
as a result of serving aboard them in his youth
Developing a natural gift for marine subjects, hi
set up as an artist in Leadenhall Street, then th(
centre of the shipping world, and became
ship's portrait painter to the Honourable Eas
India Company. Naval vessels also interestec1
him, such as the 1 20-gun Howe off Greenwich, ai
the 55-gun Winchester off Eddystone, as well
various revenue cutters. Exhibits at the Roy;
Academy brought Huggins into prominence
and he was appointed marine painter to Williair
IV, who commissioned him to do three picture?
of the battle of Trafalgar. He also ran a busim
in artists' materials in the city as is proved by
label on the back of an old canvas.

The Mellish picture which dates from the
middle of the 1830's is an important record ol
this ship and of Sydney Harbour and the land
scape as they were at the time. Also at the Parke

46

rrado Giaquinto. Apotheosis of Spain. Included in an ex-
)ition of Italian Baroque and Rococo Paintings. Hazlitt
tileries. W. J. Huggins. East India Ship Mellish entering Sydney Harbour. 28 > 34 in. Parker Gallery.

Ilery a work by another Marine Painter Royal,
T. Serrcs, a vigorous impression of a Dutch
ting boat with a Britisli man-o-war in a tur-
lentsea.

Private Navy

: relative interest are six fascinating little pic-
a's of the Honourable East India Company's
ivate navy in action with Arabian pirates off
; coast of India and in the Persian Gulf. They
: the work of T. L. Hornbrook, an artist
iscure today but sufficiently important in his
nc to be marine painter to the Duchess of Kent
d her daughter, Princess Victoria. These
irited little pictures done between 1806 and
•16 are minor but authentic incidents in Britan-
a's story. This private navy with its own flag, a
riped ensign, existed until 1863, and no doubt
rved its purpose well in keeping the marauders

. .net. (Messrs. Frost & Reed, 41 New Bond

! :reet, W.i.)

Spring Idyll

j OLISH art during the second half of the ninc-
enth century is not generally known in this
j ountry, but here and there one comes across a
! ood example such as the picture by Szykicr
i iekierz (Messrs. Newman, 43a Duke Street,
: .W.i). It is a kind of spring idyll with two
oung peasants conversing on a country road,
iorsc and hound, and an apple tree in full bloom,
ivery part is consistently well painted in a brilli-
ant light.

Siekierz was bom in i860 at Lodz, studied at
iVarsaw and in Munich. He was well known for
antastic figure compositions against landscape
jackgrounds and as an illustrator of poems. A
/ear after his early death in 1 895 his mother
organised an exhibition at the Krywult Gallery,
Warsaw, and I am indebted to the Director of
:he National Museum there for this information.

That considerable marine artist, Thomas
Somerscales of Off I 'alparaiso fame, was also a
landscape painter with dramatic power. He
knew South America well, and painted several

views of this continent. There is one at Messrs.
Newman's entitled The Apconcagua River, Chile,
signed and dated 1887. The artist was born in
Hull in 1842 and died at the age of 85.

Soldier-Artist

SIR GEORGE BULTEEL FISHER'S work is
known to authorities on old English watercolour
painters, and very poetic it is, but I was sur-
prised to find him an artist of such skill in a large
picture of Durham showing the 'new' bridge
with the old one in the distance beyond, well
drawn trees to the left and cathedral on the hill
to the right. (Messrs. Spink, 5 King Street,
S.W.i.) Fisher, whose dates are 1764-1834, was

a distinguished soldier, and while Commandant
at Woolwich painted many scenes round about
the Thames in the neighbourhood. It is techni-
cally instructive to contrast the delicacy of this
watercolour with the tremendous power of the
trees in a Peter de Wint hanging nearby — the
difference, of course, between the masterly pro-
fessional and the accomplished amateur.

Lasson Galleries, a correction

In our April issue, page 259, a painting of a
Madonna and child with adoring saints should have
been ascribed to Domenico Corvi, unfor-
tunately the correction was received only after
the magazine had gone to press.

47

Anthony Donaldson. Untitled '64. 66 ■ 66 in. Rowan Gallery.

Art in the modern
manner

ALASTAIR GORDON

THERE is a manifestation on the young
contemporary front that is difficult to
categorise as painting or sculpture. Some new
word should be coined for it. Somebody has
suggested that this third category should be
called just — Art. One young artist, Paul Huxley,
has said that 'the curiosity that is possibly
aroused in the spectator and the queries he may
wish to make are the pictures' subject matter'.
The danger is that the picture may ask no
questions because it is already a final statement
beyond any argument: it will then leave the
spectator flat. It will also make for a sterile art
in the sense that the pictures do not breed ideas.
From time immemorial painting and sculpture,
whether figurative or not, has had a content
which needs unravelling in the spectator's mind.

There has always been a mystery to disco- •
meanings to be groped towards. Even
severest abstractions of Mondrian, Van Dc,.
burg, or the machines of Picabia and Ozeiifct
arouse a passion for geometry or the poetn.f
mechanics.

The young artists of the sixties have<akcn c
cliches of the advertisers, publicity men, j
designers (themselves originally plagiarise
Picasso, Mondrian, Matisse, Klee and m
others) and made art forms out of them, t
Robert Fraser Gallery, now three years <L
has an impressive list of these artists. De<
Boshier's candy-stripe patterns bursting vav
beyond the confines of the rectangle have fill
the gallery with colour, there is Peter Bla.
always witty and nostalgic with Victorian bi-
a-brac, and Patrick Caulfield, flatly echoing ■
banalities of 1930's interior design. They hi
also shown the German Konrad Klaphec'
painstakingly painted monochrome typewrit.
I am willing to admit that these artists (anJ;
think that they are artists of a sort) bring me
full-stop. They have the hypnotising effect
the patchwork pattern shown on televisi
before transmission begins.

Also amongst this gallery's regular exhibit,
are the great Jean Duburfct, Matta, Hej
Michaux and Richard Lindner of an ol
generation to prove that this gallery has gal;
of stars who in their own times have been at tj-
forefront of contemporary trends. There is a
our own estimable Bridget Rcilly, whose bla
and white optical dazzle-patterns have a puL
ting three-dimensional content.

The Rowan Gallery also began operations
1962, and concentrates entirely on you:
British artists, believing that they are making
vital contribution to international art. They ha
recently exported an exhibition of the sculptc
William Tucker and Philip King to Minneapol
and Anthony Donaldson and Paul Huxley ha
been selected by the British Council for the Pa
Biennale in September. Donaldson is on exl
bition this month. He preaches to no one ai:

48

1 icws painterly quality in his copies of the
■up girl motif. Yet these half-dressed girls,
ited in the flat simple pinks, blues and yellows
■ one illustrated is in black and white) of the
ap colour reproduction are not crude or
y, for he has mirrored the sad, drab emptiness
irdinary girls elected to the position of popu-
idols. They are the totem-poles of our times,
'.nil Huxley, quoted at the beginning of this
de, is a painter of large hard-edge abstracts
h such startling sense of the oppositions that
be created by simple areas of colour whose
I itive size and pigment clash, that they do,
iously enough, evoke a kind of blank poetry,
ain I am hypnotised, but in spite of my earlier
larks it must be stated that these two galleries
he Robert Fraser and the Rowan — are be-
ning a power on the contemporary scene,
rause there is, in the end, a gravity (in the
wtonian sense) about these young artists that
■not be denied.

When a girl in her twenties has the enterprise
.1 the nerve to open a gallery and then make a
:cess of it one admires her greatly. Madeleine
nsonby started the New Art Centre six years
o, and still presides. The gallery's success has
w been crowned with the management of the
wly re-opened Mansard Gallery — of celebrat-
mcmory — at Heal's in Tottenham Court
>ad.

There have been many one-man shows at the
ew Art Centre, none of them great names or
sperately experimental trendsetters, but all of
:m arc of modern idiom and all of them
proachable and intelligent in their awareness
the relationship between physical phenomena
d spiritual matter, be it figurative or non-
curative. There is always about on the walls of
is gallery a rapture of paint and an energy of
■sign that is attractive before it is intellectually
■manding. Virtually all the painters (sculpture
rarely shown) are British. Showing there now
Anthony Fry, one of the finest of the large crop
: painters to come from the immediate post-
al" generation at the Camberwell School of
rt, then in the hands of the Euston Road
ainters. Fry has always had the profound
loughtfulness of this group, with an added
ricism of his own which came out in the form
f gods and goddesses dancing in Elysian fields,
le has now come down to mortal levels and his
ainting has gained yet further strength and
xpressiveness, but not at the expense of con-
entration, which is still uncompromisingly
lonest.

The O'Hana gallery has occasionally come
lown from the Olympian heights of Renoir,
[3onnard, Utrillo, Picasso and Braque to show
intried contemporaries. They are now pursuing

policy of running the two in harness. Not that
ill the contemporaries are by any means untried
)y time for they include the Spanish severities of
Fapies, the rioting carnival colours that Lanskoy
emembers from the peasant costumes of his
mive Russia, the monumental calm of PoliakofF.
Ml these are very considerable figures. If there
s a tendency at all it is towards the harsh
strength of Spanish art and its derivations or the
impid colours of the descendants of French
Impressionism. The O'Hana is committed in its

contemporary artists to exhibit large paintings,
since most of the younger artists today work
big. There is food for thought in the fact that
the earlier masters — Impressionists and after —
which this gallery deals in, were able to pack a
tremendous punch in a small sketch; a landscape
sketch by Renoir blazes incandescently, and two
small Braques I saw in this gallery some months
ago were the ultimate of multum in parvo.

The Women's International Art Club held
their annual exhibition at the F.B.A. galleries in
Suffolk Street earlier this year. Some famous
names, some less so, and a lot of gifted amateurs
belong, though the most individual and pioneer-
ing women artists do not belong (probably be-
cause they are no more clubbable than their
male counterparts) I do not think it is being un-
gallant to say that the original woman genius in
the arts is very rare, they do after all have a prim-
ary creative function, but if they are not inventive
they are imitative. This Art Club has fulfilled a
valuable function in making it possible for
women to be seen all over the British Isles and
abroad, and for their works to be purchased for
private and public collections everywhere.

The galleries: Robert Fraser Gallery, 60. Duke
Street, London W.l. Rowan Gallery, 23a Lowndes
Street, S.W.i. New Art Centre, 4 1 Shane Street,
S.W.i. O'Hana Gallery, 13 Carlos Place, W.l.

Peter Behan. Mad O'Casey Woman and Public.
48 X 48 in. O'Hana Gallery.

Kenneth Rowell. Big Deity and Figure, 1963/4.
Oil on board 60 N- 48 in. IVeir Art Centre.

49

From Riccio to Clodion

Left. Venus Marina, bronze by Danese Cattaneo (1509-73). H. 12 inches. Centre. Vulcan forging a Sword, parcel-gilt silver by Johannes Scheppich (165c
1701). H. 13 A inches. Right. Satyr with attendant atnorini, terracotta by Clodion (1738-1814). H. 14A inches.

AT 2 Carlos Place, London W.i (between Grosvenor and
l\ Berkeley Squares) David Peel Ltd. are currently exhibiting a
varied collection of works of art under the title 'From Riccio to
Clodion'. Included are examples in marble, bronze, ivory, terra-
cotta and silver. The versatility of the Italian Renaissance
workers in bronze, in particular those of the Paduan school, and
the whims of their clients, are illustrated in a rare oil-lamp
attributed to the studio of Riccio. The tripod base of the piece is
identical to one in Planiscig's standard book on the master; and
the same base and upper portion arc in the Ashmolcan Museum,
Oxford, but this has a different finial figure. The latter is in the
form of a putto, whereas in the present piece it is a seated man, not
previously recorded.

The Venus Marina in No. 1 is by Danese Cattaneo (1509-73),
who was born at Carrara and died at Padua but whose working
life was spent in the prosperous city of Venice. The relaxed and
graceful figure has a pleasing simplicity that is a tribute to
Cattaneo's skill as a modeller. Very few other examples of this
piece have been recorded: one was in the Edouard Simon Col-
lection which was dispersed at Berlin in 1929, and another is shown
in Dr. Bode's classic book, Italian Bronze Statuettes of the Ren-
aissance, published in 1907 (German edition, Vol. Ill, plate 232).

The marbles include an imposing portrait bust of a Spanish
Grandee depicted wearing the Golden Fleece, by the Genoese
sculptor Francesco SchiafHno (1691-1765). Doubtless executed to
the order of a client in Spain, it is an interesting reminder of the

cultural exchanges that took place along the Meditcrranea
seaboard at that period.

An outstanding ivory statuette by Ambrosius Galle of Antwer
is a female figure, shown with a peacock and other symbol;
representing Vanity. Two other symbolical works, hi this instanc
in bronze, are groups of Summer and Autumn by Desjardin
(Martin van den Bogaerts, 1610-94). The complete set of fou
Seasons is in the possession of Her Majesty the Queen at Windso
Castle, and two of them are in the Victoria and Albert Museum

The parcel-gilt silver figure of Vulcan forging a Sword
illustrated in No. 2, is by Johannes Scheppich (1650-1701). It i
modelled in great detail, the domed base ornamented in relie
with numerous examples of the intricate handiwork of th
mythological smith.

To complete the span of the exhibition's title is a terracott,
plaque by Clodion (No. 3). This is a typical work by this notec
modeller, and of which there is another version in the Musei
Grobct-Labadie, Ville dc Marseille.

Finally, one of the most interesting exhibits is conncctec
closely with sculpture but is, in fact, a drawing. It is an ink anc
wash sketch by Claude, from his Roman sketch-book and shows ;
lion attacking a horse. This was the antique sculpture in Rome
that inspired Giovanni da Bologna, and which caught the eye 0:1
the French painter. With a few deft strokes he has captured 01
paper the movement held in marble by a long-dead anonymou;
carver.

50

Books Reviewed

I JRIA DEL COSTUME IN ITALIA: By

osita Lcvi-Pisctzky Vol. I (from the fall of
le Roman Empire until the end of the 13th
.-ntury). (Milan: Istituto Editoriale Italiano,
J50 pages (including 126 plates); 84
lates in colour. 12J by 9£ in. Price Lire

r>,ooo.)

"'HIS is the first of five volumes of a sump-
tuous history of Italian costume. No other
:1c on this scale has been attempted in our
es apart from the octavos of Max von Boehn
•3) and Maurice Leloir's uncompleted pro-
. The task of writing on Italian costume is no
■ one; the history of Italy is discontinuous,
ken in the dark ages by invasions, and in the
Idle ages by the rise and fall of cities, states,
kingdoms; the thirteenth century, for ex-
ple, has been termed 'the century without
me'. Yet Italy has been well served by her
orians and archivists, who from the time of
A. Muratori (1 672-1 750) have printed
ional and civic manuscripts and records, of
ich Dr. Levi-Pisetzky is the first costume
orian to take full advantage.
\fter the fall of the Roman Empire in the west,
Ostrogoths did not annihilate its civilisation,
t were ready to accept Roman titles and the
emonial dress which went with them. Late
man dress included Gaulish elements, the
ak (sagum), and the breeches under the tunic,
well as the Greek mantle (pallium) approved
the ecclesiastics. The Goths wore shorter
lies and had their own types of jewellery; the
ngobards preferred wool and furs, and wore
ir hair as well as their beards long. By con-
st, in the Exarchate of Ravenna, Justinian and
eodora, here shown in the glory and gold of
"ir mosaic portraits, were opulently Byzan-
e in dress. But at Monza, on the walls of
teodelinda's palace, Paul the Deacon saw far
ler styles; tribute is paid by the authoress to
: Frankish studies of Sir Francis Oppenhcimer.
Eginhardt recorded Charlemagne's prefer-
ce for the simple Frankish dress, and his
uctance, even at Papal request, to wear in
)tne what the Roman wore. Thenceforward,
ccessive sumptuary regulations, often ineffec-
'e, attempted to check extravagance. In the
ath century, and under the Ottoman kings,
yzantine styles were re-adopted; in the
:venth, Matilda of Canossa, who was present
Henry IV's humiliation, is shown wearing her
antle gathered on one shoulder.
The Arab occupation of Sicily raised cultural
vels there, and under the Norman kings textile
oduction reached its peak. In 1183 an Arab
3et from Spain describes the Christian women
' Palermo, who wore mantles, veils and
nbroidered silk robes. The supreme example,
oger II's mantle with its huge lions and arabic
iscriptions, still kept with the Imperial Regalia
1 Vienna, is illustrated in colour.

Satirists, often churchmen, who in the manner
of journalists describe minutely what they affect
to reprobate, give valuable details of domcstic
life, as when Peter Damian recalled the sins of a
Doge's wife, who bathed in dew and had her
tood cut up for her, conveying it to her mouth
with a two-pronged instrument of gold, and all
to save dirtying her fingers and clothes.

The luxury of twelfth-century dress lay not
only in its rich fabrics, but in the length of the
sleeves and the trains. The prosperity of the
cities had already increased; Genoa traded in
silks as well as in cotton and woollen cloth;
Lucca developed its silk weaving industry; and
the Lombard merchants, as bankers, travelled
all over Europe as far as England, buying wool
and selling cloths and silks.

While in some states, such as Venice, men's
dress was conservative and plain, the thirteenth
century generally showed greater variety in
colour and texture. Tournaments and festivals
encouraged display and now the individual cities
began to prescribe what each rank of citizen
might wear. Illuminated manuscripts show but-
tons instead of lacing at wrist and neck. The
women's robes now consisted of three pieces :

gown, kirtle and mantle. Tailored garments
replaced wraps; sleeves, separately embroidered,
could be stolen from the wearer in a crowd.
1 )itferent dress was worn in summer and winter ;
fair hair, or failing that, bleached hair was ad-
mired. Men's dress also diversified. Some gar-
ments were adapted for wear with armour or
mail; English caps were imported, and the hat
supplemented the hood. Inventories record
gloves and spectacles. Churchmen still had
vestments, which, trimmed with the first
Venetian lace, could usefully be bequeathed to
ladies, but the monastic orders could now be
recognised by their distinctive cowls.

Throughout, Dr. Lcvi-Pisetzky's research-
work sets an example to English costume his-
torians and publishers, who neglecting original
study are too easily satisfied by re-phrasing
what Joseph Strutt (1790) Fairholt (1846) and
Planche (1876) have written. The printing of the
text by the Istituto Editoriale is impeccable, the
photography of sculpture, mosaics, frescoes,
manuscripts and small objects all showing details
of costume is among the best we have seen, and
the S4 colour plates arc superbly reproduced.

The next volumes (II covering the fourteenth

MAILLOL

by Waldemar George, with a biographical note by Dina Vierny. The first really thorough
work on this artist to be published in English, this splendid book includes a critical
appraisal of his sculpture, paintings, drawings, lithographs and book illustration; an
index of the works in museums and private collections, and a full bibliography. It is
illustrated with 72 pages in gravure, 24 pages of drawings reproduced in two- and
three-colour lithography, and 24 mounted colour plates. £6 . 6s.

WATERCOLOURS OF THE NORWICH SCHOOL

by Derek Clifford. This is the first time that any regional group of English water-
colour artists has been treated on such a scale or in this manner. Crome, the Cotmans,
Thirtle, Stark, Bright and Middleton, and many lesser-known artists such as the
Cattons, Capon, Williams, Colkctt, Vincent, the Ladbrokes, Leman, Lound and
Daniell are discussed chronologically and in detail. The book is illustrated with 80
pages of monochrome reproductions - the greater part of them drawings never
before reproduced - and eight plates in colour. Ready June. £5 . 5s.

CHINESE JADE

by George Savage. With 51 reproductions (4 in colour). "An absorbing introduction
to the subject .. ." — Yorkshire post 30s.

ROMAN ART

by George M. Hanfinann, Head of the Department of Classical Studies at Harvard
University. With 215 illustrations (52 in colour). "This fine picture-book will help all
admirers of Roman grandeur and students of Latin to a better understanding of the
Roman spirit." — times educational supplement £5 . 5s.

Cory, Adams & Mackay

39 SLOANE STREET. LONDON SW1

THE ART
AND ARTISTS
OF RUSSIA

RICHARD HARE

Here is a clear, concise and magnificently
illustrated account of Russian art from
the introduction of Christianity in the
Kiev period until the end of the Russian
Empire. £5 10s

ART OF THE WORLD

HIGH

GOTHIC ART

MARCEL AUBERT

A lavishly illustrated survey of the
Gothic style at the climax of its achieve-
ment, between 1220 and 1350, a period
which is most remembered for the splen-
dours of Notre-Dame de Paris, Chartres
and Beauvais. 50s

ALSO AVAILABLE IN THIS SERIES:

THE STONE AGE

OCEANIA AND AUSTRALIA

ANCIENT AMERICA

INDIA

BURMA. KOREA. TIBET

INDO CHINA

ROME AND HER EMPIRE

AFRICA

CRETE AND EARLY GREECE

THE ART OF BUDDHISM

CHINA

INDONESIA

EGYPT

MESOPOTAMIA AND THE MIDDLE EAST

MHMN

and fifteenth, and III the sixteenth and seven-
teenth centuries, and dealing with periods in
which the art of, if not the costume, is more
familiar) will be eagerly awaited. — J. L.
Nevinson.

THE GREAT AGES OF ARCHITECTURE :

By Bodo Cichy. 440 pp. Illustrated. (London:
Oldbourne Press. ^6 6s.)

THERE is one architectural book which every
art publisher seems to have inside him. It has
many titles but is always basically the same,
claims to be comprehensive and begins reliably
in Greece and ends chaotically, taking almost
random samples of the 20th century.

When will authors and publishers realise that
architecture is a subject that does not lend itself
to this encyclopaedic treatment; and why, as in
this case where almost nothing is excluded, give
such volumes titles like 'The Great Ages of
Architecture'? Arc all ages great? Mr. Cichy
who gets from the late eighteenth century to the
present day between pages 363 and 397, seems
to have doubts himself.

Two-dimensional reproduction of architec-
tural subjects is a medium which should be left
to experts. In this volume the monochrome
photographs are greatly superior to the colour
plates (some of which resemble enlarged tinted
postcards), and the diagrams in the text and
glossary are better than either. — Denys Hinton.

LIFE WITH PICASSO: By Franchise Gilot
and Carlton Lake. (London: Nelson, 35s.
U.K. price only).

CURIOSITY about Picasso's mode of existence
is still surprisingly eager and indeed universal,
even though much of the sheer hypnotic power
of his example has clearly ceased to function as a
living force in contemporary art. His extra-
ordinary powers of invention, the huge emotion-
al range, the ceaseless creativity that attracts
attention to itself even more than to anything it
produces, all still revolve around that one im-
mensely daring, formal discovery of cubism.
Picasso has no great innovatory surprises left up
his sleeve in this technological age when restless
novelties have become a commonplace. Yet his
wayward character can still perpetuate the
legend of the stupor mundi, and his self-dramatisa-
tion is the strongest element in the interaction of
Picasso the man and Picasso the artist.

Mr. Roland Penrose's balanced biography is
near to being definitive, though it shuns his
hero's darkest and most callous moods which arc
an open secret to his intimates. Picasso's brutal
treatment whenever domesticity has seemed to
encroach on his independence is naturally re-
vealed by Francoise Gilot, together with her
intense sympathy with his lonely dedication and
achievement. She gave herself to him after 1943
as a sensitive young artist, sharing an unforget-
tably stimulating, unpredictable, finally impos-
sible life with the capricious master for nearly a
decade — his most understanding model and
mother of two of his children. Francoise Gilot
was the fourth successor to care with such passion
for Picasso for a period into which the intensive
phases of his portraiture naturally fall. Because

she intuitively followed the movements ot k
creative thought, understanding his sources d
versions with a readiness which he judged -
dispensable, her book is considerably rr c
valuable to the student of Picasso than the ru f
sociable memoirs. The somewhat racy stylof
her American collaborator never, indeed, >-
scures the refinement of her sensibility of r
aptitude for memorising the significant ut--
ances of Picasso, Matisse, Eluard, anyone in it
elect circle to whom she could talk on east
terms.

Among the significant lights on Pici
nature is his love of aping the tragic clown, "c
charade begins with the morning shaving latl \
the grimacing, the gesticulating, and also
suggestion of something more poignant; and s
admiration for Charlie Chaplin has been p-
found. hi the comedian's silent miming, Pic
recognises an impulse akin to his own. 'Mini
the exact equivalent of the gesture in painting,
which you transmit directly a state of mind',
told Francoise. After so intimate a bond
artistic sympathy, their severance makes pi
reading. Francoise packed their two children i\
her bags into a taxi to drive to the station
Vallauris. The farewell scene was brief:
shouted Mcrdc! and went back into the hou
However, he was soon placated with the yo
Jacqueline Roque, while Francoise Gilot
since developed into an interesting painter in 1
own right, as the Mayor Gallery in London ).
shown us. — Nevile Wallis.

PAINTING FLOWERS: By Joy Parso.

(London: Frederick Wame & Co. Lt,
10s. 6d. net.)

THE general interest in flower-painting is noi-
ing new. It is merely continuous from the gr.
movement in Holland during the seventeer
century. The difference today is that many m(
professional and amateur artists have taken
this delightful subject. This book by M
Parsons, an accomplished flower-painter, is
valuable guide for beginners and advanc
students to floral interpretation. It contains
large number of illustrations in colour and bla
and white, and the text takes the student 011
happy journey, as it were, through the garden
aspiration. Watercolour and pastel are M
Parsons' favourite media, and her advice 1
their use is expressed clearly and concisely,
commend particularly the wit and wisdom of h
summing up (on page 63). — Adrian Bury.

A CONCISE HISTORY OF ENGLI"
PAINTING: By William Gaunt. (Lond
Thames and Hudson. 35s.)

A BOOK is such an individual and such
insular thing, that it seems peculiarly appropria
to find one encompassing a history of Engli
painting. With Mr. William Gaunt as auth
(he has been contributing to The Connoisseur f
nearly 40 years) the reader is assured of a luc
guide, whose judgements, as profound as thi
are simple, serve to illuminate the essenti
qualities of any painter he discusses. How c;
simplicity align with profundity ? By an unde
standing bred of continual thought; other a

52

Books and The
Belgravc Library

ciders, especially in sonic of the remoter
arts of the world, may like to know that
ny book reviewed on these pages, or
lown under 'Books Received', can be
rdercd by post from The Belgravc
I ibrary, 22 Armoury Way, London,

s.w.is.

English
Furniture

John Gloag

s fifth edition has been revised throughout,
ee chapters have been entirely rewritten: on
•materials and their effect on design, on the
of buying furniture, and on books about
liture and design. The number of plates has
n increased from 24 to 40, illustrating some
. additional pieces, and there are many new
• drawings. 13 May 30s

Also in

IE LIBRARY OF ENGLISH ART

English Domestic Silver

Charles Oman, 5th edn, 25s

English Glass

W. A. Thorpe, 3rd edn, 25s

English Portrait Miniatures

Graham Reynolds, 21s

English Pottery and Porcelain

W. B. Honey, 5th edn, 28s

English Water-Colours

Laurence Binyon, 2nd edn, 30s

DAM & CHARLES BLACK

Binders for your Connoisseurs!

And you can do it yourself. Three Binders
[ take a year's issues. Strongly made, they
are of red leather-cloth, with rounded
corners, the name The Connoisseur gold-
blocked on the spine. Price each 17s. 6d.
($2.54) inclusive of postage, packing and
insurance. Extra blocking on the spine
for dates costs an additional Is. 3d.
(17 cents) per binder.

Order from
The Belgrave Library,
22 Armoury Way, London, S. W. 18.

historians sometimes confuse this necessary pro-
cess with a working out of their ideas in print,
which is why so much of their writing appears
confused or even incomprehensible.

After a brief look at English art in the Middle
Ages, the reader is plunged directly into the
Tudor period eventually to rise breathless and
gasping through the bewildering multiplicity of
styles that make up the contemporary English
scene. As a rough generalisation it would seem
to be true that English art is essentially humane
in character; it does not despise the intellectual
content so necessary if art is to rise to occasional
greatness, but always remains conscious of the
limits of human nature and the landscape which
moulds it.

It is perhaps easy to criticise a concise history,
but unfair for it is avowedly a brief survey, an
introduction, and the author and his publishers
must be congratulated on this work which
packs an extraordinary amount of information
and illustration into the available space.
— David Coombs.

BOOKS RECEIVED

(The inclusion of a book in this list does not
preclude us from publishing a review later.)

The Life and Works of Thomas Cole: By

Louis Legrand Noble. Edited by Elliot S.
Vesell. Harvard University Press. London:
Oxford University Press. 60s. net.

Silver through the Ages: By Gerald Taylor.
London: Cassell &. Co. Ltd. 30s. net.

Fifty-seventh Annual Report. National
Museum of Wales. 1963-64. Cardiff:
National Museum of Wales.

Der Blick aus dem Bilde: By Alfred Neumey-
er. Berlin-Schoneberg : Verlag Gebr. Mann
(Hauptstrasse 26). DM. 28.00.

Collecting Victoriana: By Mary Peter. Lon-
don: Arco Publications. 30s.

Francis Bacon: By John Russell. London:
Methuen & Co. Ltd. 8s. 6d. in U.K. only.

The Eternal Present: The Beginnings of
Architecture: By S. Giedion. Oxford
University Press. 63s. net.

English and Irish Antique Glass: By Derek
C. Davis. London: Arthur Barker. 50s. net.

The Art of the World. The Art of Buddh-
ism: By Dietrich Seckel. London: Methuen.
50s.

French Furniture in Hungary: By Hedvig
Szabolcsi. Budapest: Corvina Press (Publicity
Department, Kultura, Budapest 62, P.O.B.
149. Distributed in Great Britain by Colletts).
12s. od.

Little Library of Art. Rodin. Sculptures
1840-1886: By Cecile Goldscheider. Rodin.
Sculptures 1886-1917: By Cecile Gold-
scheider. Giacometti. Sculptures: By Raoul-
Jean Moulin. Arp. Sculptures: By Michel
Seuphor. London: Methuen. 2s. 6d. each.

A Batsford Book

WATCHES

Cecil Clutton

and George Daniels 7 gns

Whilst particular attention is paid to the
precision watches of the 1780-1830 period this
encyclopaedic work covers every aspect of the
development of the watch from the mid-
sixteenth to the mid-twentieth century. The
600 photographs cover a very wide range of
watches and are about equally divided between
their outsides and insides. The large-scale
photographs of the escapements are a partic-
ularly valuable feature of the book.

A Prospectus is available

B. T. BATSFORD LTD

4 Fitzhardinge Street London Wi

Bell Books
for Collectors

HOW TO IDENTIFY

Old Maps & Globes

RA YMOND LISTER

A notable addition to
our list of books for
collectors and once
again a book that was
XAjy^ needed. A most impor-
tant feature is the con-
■^yji^^l siderable list of carto-
' f' IX/ graphers, engravers,
publishers and printers
concerned with printed maps and globes
from 1500 to 1850, more than 2,000 of
them. We are not aware of any equally
full list in an English book. The text of
the book throughout is designed pri-
marily to be of practical assistance to
collectors and dealers.

9\ x 7\ inches. 256 pages. Fully illus-
trated with 48 pages of plates, some line
drawings and 1 78 drawings of watermarks.

70/- net

G. Bell & Sons

53

■

Sotheby's and the Stoclet Collectioi

On May 11 Sotheby's wil
of art, the property of

sell Chinese porcelain and work
M. Philippe R. Stoclet, from th

collection of the late Adolphe Stoclet

if* ■^>5v

-

<

The four items shown on this pa
are taken from that sale.

Far Left. An important bronze
(Chung), from the well-known
Hui Chime, 21J inches, late Cti
Dynasty. This bell belongs to a chir
of which four other members a
known, and is intermediate in si
between one example in Amsterda
and a smaller example at the Fo:
Museum of Art, Cambridge, Mass
chusetts.

Left. This rare archaic bone car
ing of a bird, from An-yang, origi
ally a handle, the folded win
deeply channelled along the lines
the feathers, was once inlaid wi
turquoise of which traces remain <
the head, earth encrustation,
inches, Shang Dynasty.

car

Left. Gilt-bronze and turquoise be
hook, the underside and the head
the button silvered and with patch
of green encrustation, 8 inches, fro:
Chin-ts'un, Warring States.

Left. Rare animal style gilt-brona
applique, cast in the form of a tigc
and a bear devouring a deer, 5J X 2
inches, Sarmatian type, Han Dynasty.

54

The Art Market

"'HE Art Market the world over is domin-
ated by the prices paid for old master
ntings and nowhere is this more apparent
.1 in London. Within a week of each other
ee paintings by Rembrandt were sold for a
,il m excess of £im.

irst sold was the portrait of Rembrandt's son
lis. A picture of such mastery and charm was
and to attract keen bidding, and it was cvent-
ly sold at Christie's, after an unfortunate dis-
te for £798,000. (It measured only 24^ X 20
i The other Rembrandts sold in London were
Jotheby's: £140,000 for a half-length Portrait
.1 Man with curly hair (panel 26^ X 2of in.,
ned and dated 1635); £125,000 for Saskia as
ncrva, three-quarter length (53J X 455 in.,
ned and dated 1635).

[n the same sale at Christie's as Rembrandt's
rtrait of his son, there appeared a cheerful and
.learing whole length portrait by I 'elazquez of
:Jester Calabazas (69 X 42 in.) which sold for

-V<;oo. This sale was additionally remarkable
• the fact that four paintings out of 105 offered
jether made £1,088,955; apart from the
mbrandt and the Velazquez there was a group
rtrait by Hogarth of a Family Party (21 x 29^

which sold for £39,900, and a Turner: The
and Junction Canal at Southall Mill (36 X 48
) which fetched £15,750, a fair rise on the
1,835 paid for it in 1874.

At Sotheby's a lachrymose painted crucifix by
: Italian Master of St. Francis (panel 36 x 27f
overall) was sold for £100,000 in company
th the two Rembrandt's mentioned above.
70,000 was paid for a most interesting series of
.scoes by G. B. Tiepolo perhaps painted with
. assistance of his son. These showed events in
e history of the Porto family of Vicenza from
c eleventh to the seventeenth century and were
inted in the manner of grisaille with golden
ies. They each measure io6£ X 665 in. and
id painted simulated frames and inscriptions,
the same sale also was a marvellous view of
resden by Bernard Bcllotto; It was a view of the
be looking across the river towards the
ugustus Bridge and had formerly hung in the
resden Royal Gallery. It fetched £27,000
6| x 64 m.).

In an earlier sale at Sotheby's another painter
hose work shows the influence of Canalctto
as represented by a large painting : Samuel

' err whose delineation of the Building of
/estminster Bridge (3 if X 59j in., signed and
ited 1750) sold for £32,000. A smaller view of
le familiar Piazza San Marco in Venice by
rancesco Guardi (19 < 33 in., signed) made
,34,000. These prices were overshadowed by
le £84,000 given for a superb pair of paintings

' y Filippino Lippi (panel 6i£ X 23 in.) showing
1 unbiown saint with St. Apollonia, and Saints
aul and Zenobius.

In France the highest priced works of which I
ave details were sold at the Palais Galliera.

110,000 F was given for a painting attributed to
Ambrosius Benson (et son atelier) showing the
Virgin in a large red cloak supporting her child
who holds some flowers in his hand, all in an
elaborately decorated architectural setting (panel
111175 x 1 mo). The cautious ascription of a
painting to Ecole francaise, XVh siecle did not
prevent 100,000 F being given for it; but this is
not so surprising when one learns that the sub-
ject was a young girl becomingly dressed in a
white silk cap and a lilac robe with a fur collar.
This sort of picture is a balm for tired million-
aires. (It measured 011124 X 011119). A painting
by Theodore Gericault of an episode from the
war of the Titans showing a muscular figure
supporting falling rocks, sold for 55,000 F
(011138 X 011145).

Still life painting

IN great demand are the scintillating still life
paintings whose meticulous detail and quiet
harmonies ensure them a welcome in any
collection. A painting on panel (i6£ X 13 in.) by
Jan Brueghel the elder sold at Sotheby's for
£16,800: it showed tulips, roses, carnations and
other flowers in a green glass standing on a ledge.
At Christie's, £10,500 bought a work signed in
monogram by Abraham van Beyeren principally
featuring a tazza filled with peaches and grapes
(37 X 48 in.). In Paris at the Palais Galliera,
75,100 F was paid for a painting by Jean Soriau
displaying grapes in a basket, plums in a dish,
and flowers in a roemer (panel 76 X 96.5 111.).
Still life paintings by the English artist Edward
Ladell having been rising steadily in price, the
highest sum so far recorded in the sale rooms
being the £1,800 given at Sotheby's for a com-
position including a wine glass, a casket and
fruit on a carved wood bench, with a landscape
in the background on the right (20J X i6| in.,
signed with a monogram). In the same rooms an
unusual type of painting signed by Solomon van
Ruysdael showing an arrangement of dead song
birds (13I X 1 if in.) sold for £2,550.

The next painting should perhaps be classified
as a still life study: by Lucas Cranach the Elder
it portrayed Venus and Cupid, the fornu i ex-
clusively dressed in a broad-brimmed hat
trimmed with white feathers. On a circular
panel only 4J- in. in diameter and signed with the
familiar winged serpent, it sold for £16,000 at
Sotheby's.

English painting

MENTION has already been made of William
Hogarth, Samuel Scott and Edward Ladell, but
the most extraordinary re-evaluation must be
that of the portraits by Arthur Devis. A group
portrait (49^ X 39^ in., signed and dated 1748)
of the first Lord Lyttelton of Frankley with his
brother and sister-in-law in front of Hagley Hall
was sold by Christie's for £18,900: which was
£13,500 more than the highest figure given for

a picture by this painter in any auction room
hitherto. In a subsequent sale at Sotheby's a
series of single figure portraits by Dcvis, smaller
in scale and less attractive in appearance proved
that interest was being maintained — two of them
making prices in the region of £5,000. Paintings
by Jean Jacques Tissot are in increasing favour: at
Christie's 'The Milliner's Shop' made £3,150.
It showed a young lady assistant opening the
shop door (58 X 40 in., signed). A half length
portrait by the same artist of a young lady in a
brown dress with black furs and a red hat (panel
31 X 14I in.) sold for £1,735, having made only
£28 in 1900.

At Sotheby's a lovely painting by William
Mariow, a View on the Arno, Florence (34 X 46
in.) made £4,800; and a long-lost and famous
work by George Stubbs, Bulls fighting (panel 24^
X 32j in., signed and dated 1786) sold for
£10,500, confirming if anyone still doubted
that Stubbs has certainly qualified in terms of
price as an 'international old master'.

The painters of Victorian England are now
being rediscovered, though it would seem that
even yet some are more fashionable than others.
Two examples suffice, both at Christie's. One of
the most celebrated pictures by Augustus
Leopold Egg 'Queen Elizabeth discovers she is no
longer young', as truthful in its own way as any
impressionist picture (47 > 70 in., it was exhibi-
ted at the Royal Academy in 1848 and 1889)
could only make £78. A master work by Dante
Gabriel Rossetti, 'Proserpina' in Hades holding a
pomegranate (46 X 22 in., signed and dated
1 877) made the handsome sum of £5,250.

British public galleries are now in receipt of
larger funds from the Treasury, and this has
allowed them to bid competitively at last in the
London salerooms. At Sotheby's, the Tate
Gallery purchased for £3,800, a painting by
Henry Fuseli of Mrs. Siddons as Lady Macbeth
seizing the daggers from the quaking figure of
her husband (39J X 25^ in.). In the same sale-
rooms, a handsome half-length portrait by Gerrit
van Honthorst of his patron King Charles I
was bought by the National Portrait Gallery for
£4,000. Measuring 30J X 25+ in., it showed the
King glancing up from a letter.

The Small Collector

IN the London salerooms ot Phillips, Son and
Neale, the eclectic collection of Mrs. Naomi
Pcarlman was sold for £29,200. There were
about 770 lots in all including furniture, porce-
lain, glass, miniatures, bronzes, ivories and net-
sukc, the majority selling for less than £100. A
delightful little oil on panel (7 x 10 in.) of Dutch
vessels on the Scheldt by James Webb made
£280, having cost the owner only £15 about
nine years earlier. The friendly salerooms of
Phillips, Son and Neale arc much frequented by
the Small Collector whether buying or selling.
— David Coombs.

55

International
Saleroom

i. One of a pair of Louis XIV ormolu torcheres, 50 inches high. £73
(Christie's). 2. A St. Louis encased pink overlay weight, 24 inches. Bought b
Mr. Howard Phillips of London for ,£3,300 (Sotheby's). 3. George II snuffer
tray, by Paul de Lamerie, 7! inches long. £2,600 (Christie's). In 1959 thi
piece sold at auction for £405, in 1921 for £43. 4. Louis XV acajou table
ecrire with gilt-bronze mounts, by Pierce Migeon II. Dollars 7,500 (Parke
Bernet, New York). 5. An important mid-eighteenth century mahogan
library cabinet, 58 inches wide, 26 inches deep. £3,700 (Sotheby's).
£1 = 2 79 dollars.

56

Joseph Farington, R.A., The Mons Gate, Valenciennes, after the
\e of I7g3, signed, 15J x 23J inches. £,460 (Sotheby's), acquired by
Musee de Valenciennes. 7. Louis XV commode, veneered with
igwood and tulipwood, 51 inches wide, stamped 'Fleury'. £1,300
lillips, Son & Neale). 8. George II vase-shaped caster, by Paul de
merie, 6j! inches high, 1730. ,£1,400 (Christie's). Sold at auction in
j >3 for £1,120, for £88 in 1946. 9. Ormolu-mounted early Meissen
mp of a Chinaman and a bird, by Georg Fritzsche, 6-J inches high,
inches wide (crossed swords mark in underglaze-blue), 1725-30.
:,200 (Sotheby's). 10. Late sixteenth-century oak table, 72 inches
de, 33 inches high, 27 inches deep. £340 (Sotheby's).

International
Saleroom

13

11. Rare transfer-printed mug, 5! inches, Worcester, First Period. £12° (Sotheby s . 12. George 1
tumbler-cup 1765, maker's mark IS, mullet above, cinquefoil below, 3| inches high (exceptional
large). Bought by Messrs. How of Edinburgh for £6,800 (Christie's). This piece sold at auction 1,
/720 in 1050. 13. Rembrandt Harmensz van Rijn. Portrait of the artist's son, Titus, 24* 20, incne*
Cook Collection. Acquired by the Norton Simon Foundation, U.S.A. for £798,000 (Christie
Originally acquired by a London dealer in Holland in the early nineteenth century for the price o
night's lodging, subsequently entering the Spencer Collection. 14. William Hogarth. The Jam,
Party 21 ■ 2oHnches. Ex Cook Collection. £39,900 (Christie's). The 5 paintings sold from the Coc
Collection (March 19) together totalled £1,052,100 (dollars 2,945,800). 15. Part of a Worcester High
Barr & Barr dinner service of 102 pieces. £950 (Henry Spencer & Sons).

53

rhe American Connoisseur

iiovanni Battista Falda and
he decorative plan in three
talian gardens

DIANE K. McGUIRE

'4 !

<4v

)etail (actual size) from the perspective view of the Gardens of the Medici at Monte Pincio (cf. No. \ ).

^ the late seventeenth centurv when Englishmen returned
lome from their tours through France and the Alps to Italy,
•y carried with them, from that ultramontane country,
rtfolios of pictorial and topographical prints; engravings of
nous paintings, pictures of antiquities, views of the fountains,
:ient buildings and Renaissance palazzos, engraved maps of

: ' cities and detailed glimpses of the gardens and villas of Rome

1 i Frascati.

j With the topographical views, it gave these Englishmen a
I icription of what the buildings and gardens looked like, not
ly for the purposes of interest but for those of imitation,

although the architectural perspectives were of much greater
influence in this respect, than were the garden plans. The
principles of Italian garden design did not come to England by
means of these prints, but indirectly, through the influence of
Le Notre and the French formal garden. This was not altogether
a logical phenomenon, because these English travellers were
greatly impressed by the Italian gardens, and men of cultivated
taste in both countries were concerned with the importance of
'prospects' and 'vistas'. However, the new wealth and social
aspirations of the lesser aristocracy and mercantile class at this
transitional period in English history found the grandeur of the

59

VEDVTA DEL GIARDINO DLL S'Elf DVCA DI PARMA SV L MONTE PALATINO VER.VO CAMPO VACCINO. Archtrcaura del Cauahcr Ramaldi

I S'*U mil .nj-tuo chc lla »! primo p.ano itl G.arJ.no 1 V.alj iul Jtconcfo piano ! Tontzna c Tfatro jolio !a lojj,m.fn U due VitiUxrc 7VccMcrc

6.ht^*l*U. *W ci ^c. - F...-rus *K..rut fa .f taniant j^jyonranonc acHa P'P.flO.a «- StaU cJic toiJi.tc af fcrzo piano cTrat.-e Jfi/. 'Wanjn; S 5ca?g the conduce. -.0 a< ouano et uir.mo piano del Gia.-i.nc Gr.,Pafc j;j,nc. ..tajy,

2. Perspective view of the Farnese Gardens. Commissioned by Pope Paul III, Vignola designed these gardens as an architectural entity without relatio
a palazzo or villa. Actual size of plate 8 g ■ l6i inches.

French design more in keeping with their image of themselves,
and when Charles II returned from France he began immediately
with the redesign of St. James's Park along French lines which set
the fashion.

Among the prints which were brought back to England at this
time, the work of Giovanni Battista Falda (1648-1678) is parti-
cularly appealing today, because his engraved topographical
views have a surprisingly fresh and contemporary look about
them. His work has many of the qualities which we admire:
economy of means, clarity of representation, strength of line and
rich black and white contrast. Falda is an artist who has historical
importance because of his contributions to the advancement of
realistic architectural draughtsmanship, especially in the re-
presentation of gardens; while at the same time the professional
architect or landscape architect may find his work not only
historically interesting, but instructive in matters of pictorial
conception and detail of representation.

Falda was born in Valduggia, in Lombardy, in 1648, and was
working in Rome by the age of fifteen, as the earliest engraving I
have seen is Disegno Delle Fabrichc Prospettive E Piazze Fatte
Novamcute In Roma (1663). 1 This plate is a large single sheet of
elevations and simple one-point perspectives of S. Pietro and
other buildings in Rome which would be of interest to the
traveller. The large size and squareness of this sheet would
indicate that it was to be sold loosely and not bound into a book
of views. The important point about this rather ordinary sheet
of buildings is the correctness of the perspective and the brilliance
of the modelling of 5. Pietro in which Falda reveals, at this early

age, his ability to model buildings as plastic forms, to see ther
the third dimension and to render them with brilliant black i
white contrast, all of which give depth and quality to his arq-
tectural studies and set them apart from the work of his conte-
poraries.

In 1665 he published the first of his three books of engraving
buildings, churches and cityscapes of Rome: // Nuovo Teatro Dlt
Fabrichc, Et Edifici, In Prospettiva, Di Roma Moderna . . . , follovd
by // Secundo Libro (1665-1667) and II Terzo Libro (1667-166
Additional volumes of this work did not contain engravings
Falda but were the work of Giovanni Venturini and Alessanc
Specchi.

It was not until 1675 that Falda's first engravings of garde
began to appear, with the publication of Le Fontane . . . (16'-
1689), a beautiful collection of the fountains of Rome and
environs, published in four books, the first two volumes by Fal.
and the second two by Venturini. The first book, Le Fontane <
Roma . . . (1675) contains engravings of the major fountains in I
city of Rome, while the second book, Le Fontane Delle Ville
Frascati, Nel Tusculano illustrates the gardens of the villas as
as the fountains. Giovanni Francesco Venturini, who drew a
engraved most of the plates in the two additional volumes, ha<
real facility as an artist. He could represent his topographi
subjects realistically, and in true proportion and perspective, t
he lacked a sure sense of composition and in his engravings on
attention is always divided between a number of competi
elements. Falda, in his architectural perspectives, emphasized t"
primary focal point, by his composition on the one hand, and p

60

'Ian View of the Farnese Gardens. This beautiful rendering suggests the joy and delight which must have been felt by those who walked in these
dens. Actual size of plate ioA 16 inches.

ltrast of light and dark on the other. He left large patches of
dte in his compositions, great blank walls of buildings which
m a direct contrast to the rich modelling of the architectural
ails and of the surrounding foliage.

Yet it was not until the publication of Li Giardini Di Roma
)83)'- that Falda developed his technique of the decorative plan
a scale which was commensurate with his abilities as a
lughtsman. Anyone who is involved in cartographic work,
idscape architects, architects, city planners and engineers,
buld find it beneficial to study Falda's garden plans in Li
ardini. Historically, there is nothing in Italian topographical
t like them, and most plans contemporary with his, such as those
' Simon Felice (some of which are in Li Giardini) seem either
•s advanced by their crudity of representation, arc weak in
nception, or dull because of a uniform method of depicting all
iments.

The art of delineating the plan of a garden is one which is
day almost uniquely the province of the landscape architect,
though at times architects must also perform this function,
owever, from the sixteenth century through the nineteenth,
any topographical artists were required to illustrate the plans of

gardens for books of 'views', similar to Li Giardini and Le Fon-
tane, and the course of development of these engravings pro-
ceeded along a path which gravitated between the topographical
approach on the one hand and the more pictorial on the other.
In Italy, the views of Giacomo Lauro [c. 1583-1650)3 are well
known and are representative of the kind of garden plans which
we find in the late sixteenth and early seventeenth centuries. Falda
was the first in Italy to represent the plan views of gardens
correctly in the topographical sense, in detail as well as in overall
conception, and also to render these plans as decorative works of
art; a result derived from the consolidation of his strong points
as a draughtsman with the distinctive requirements of his subject
matter.

Most of the plates in Li Giardini arc Falda's. They represent
plan and perspective views of the Renaissance gardens in Rome.
In most cases a plan and one perspective view is shown of each
garden as in the two plates of Vignola's Farnese Gardens (Nos. 2
and 3). The perspective view is brilliantly drawn, as Falda con-
veys the dramatic effect of the promontory flooded with sun-
light; he emphasizes the exotic grandeur of the uccelliere, and
strongly delineates Vignola's architectural conception. The plan

6i

4. A Plan View of the Gardens of the Medici at Monte Pincio.The mount was not a common feature of the Italian Renaissance garden, but this additior
al height gave a prospect from the gardens which delighted travellers and caused it to be described as a garden 'to look out of rather than into'. Actu-
size of plate 9{ X 17 inches.

view is drawn with richness and variety of texture, while the
changes of elevation are accurately depicted within the garden on
what is ordinarily a flat plane. In representations of the plan view
before Falda, it was more common to either ignore the re-
presentation of changes of elevation or to indicate them only
roughly; whereas, in the plan illustrated here, the changes of
grade are carefully delineated and well defined. He always
approached his representation of the garden as a structural whole,
as a unit complete within itself, and as a result, the plan gains in
clarity and reinforces the viewer's impression of the garden as an
architectural unit, which is of course, in the Renaissance, what
the Italian garden was.

In this plan view of the Farnese Gardens, despite the smallncss
of scale, a great deal of interest is engendered by the variety
which he creates by the delicate manner with which he embel-
lishes the parterres and borders. The subtlety of this treatment
contrasts with his plan of the Medici Gardens in Rome (No. 4).
In this plan the decorative qualities almost become too over-
powering, the mount, the palazzo and the cartouche with the
title and legend enclosed within are all strong elements which
have been seemingly overworked in the presentation. Yet, in
spite of the defects of this plate, there is much that can be learned
from it. The beneficial gains in decorative quality are particularly
apparent here in the floating of the plan. By being set off in space,
it achieves a jewel-like quality.

The design of the gardens of The Quirinale (No. 5), is a less

unified architectural entity than the Farnese Gardens or those (,
the Medici. Yet Falda has solved this admirably in his represent;
tion by his strong modelling and emphasis of the architectur
elements, and a clearly stated direct handling of the comple
changes of elevation. The small scale of this engraving, reduo
the representation of foliage to a completely decorative device, ;
a series of embroidery patterns might be stamped over fabri>
each repeating the one before.

An interest in trees and plants as possessing individual charac
teristics has usually not been the concern of the Italian draught:
men, and in the work of Ferrerio, Specchi and Venturini, all 0
whom were concerned with the delineation of these perspectiv
views, there is the same lack of concern with the particular and
representation of foliage as a generalized impression. It is a
approach altogether different from the German artists, who ha^
always been concerned with the botanical characteristics c
plants. This German interest in the plants themselves is clearl
seen in works such as Francois Danreither's Die Garten Prospc
Von Helllmnm Bci Salzburg (1740) and eventually culminated i
the middle of the nineteenth century when garden plans an
perspectives were bound with transparent overlays, with tli
names of the plants printed thereon.

In the Italian prints there is not this exactitude, and foliage has
decorative function as an embellishment of the plan. In Falda
work, the strong black and white contrast and the solid structun
qualities of his architectural representation insure the cngravin

62

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-7 tei test fes jh^r* s " }
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^^^^

IARDINO FONTJFICrO NIL QVHUNALP

m <ti Osauio Maseanm.

lei Card. no Pont^iciO II Pejffitffd C PlatanmcIIa

■arja wrjo d Qtardttto la 5wtnitnorii dfl <

its Ponttfuio D Tonranon<r rfctf

cUCappcltaPapalc ifFomana dtPorfi

olaitrada iellt ■ l5Fc

t <Jct£<

17 Fonlana flV// On
ftt^/td. iSFonrana RuJt/ca

J G.«riin(
to nW FbImzo ieffi

• Pulazzo Ja Piatza 19 Fonrana a*;1/ ^"o/e
xo .Vff fffif ra.

Plan View of the Gardens of the Quirinale on Monte Cavallo. John Evelyn regarded this garden as one of the best and most attractive in Rome. It
ntained many 'wonderful and peculiar water devices', beautiful statuary, exotic trees, herbs and foreign plants: 10} x l6j inches.

;ainst becoming monotonous on the one hand or weak and flat

I the other, difficulties which often arise when plants are
lprecisely drawn.

When one looks over a group of these prints, it can be readily
en that Falda took an interest in the drawing of these decorative
irden plans. He seemed to have derived inspiration from the
■corative and exotic potentialities of a subject, as in (No. 2) in
e beautiful modelling of the towers of the uccelliere, or of the
irterres in (No. 3), or of the rendering of the mount in (No. 4).
1 Falda died in Rome, in 1678, at the age of thirty. I know of no
her garden views engraved by him after his work in Li
iardini. There may be plates published as loose sheets and other
)oks of views in various collections. To aid those who want to
ok at the original prints, a check-list of his published work
illows. It would be presumptuous to think of this list as com-
ete, but eventually a more extensive one may be compiled as a
suit of a wider interest in Falda's work.

CHECK-LIST

Disegiio Delle Fabriche Prospettive E Piazze Fatie Novamente In Roma (1663). A
ose sheet of S. Pietro and other buildings in Rome.

II Ntwvo Teatro Delle Fabriche, El Edifici, In Prospettiva Di Roma Moderna...,

(1665). Contains buildings, churches and cityscapes in Rome.

3 // Secundo Libro Del' Novo Teatro Delle Fabriche . . . (1 665). Contains buildings,
churches, cityscapes in Rome.

4 // Terzo Libro Del' Novo Teatro Delle Chiese Di Roma (1667). Contains build-
ings, churches, cityscapes in Rome.

5 Le Fontane Di Roma . . . (1675). A volume of Roman fountains.

6 Le Fontane Delle Ville Di Prascati, Nel Tusculano . . . (before 1687). In this vol-
ume the fountains are shown with the gardens in the background.

7 Le Fontane Ne Palazzi E Ne Ciardini De Roma . . . (before 1689). This is the work
of Giovanni Francesco Venturini, but there are a few plates by Falda included.

8 Nuovi Designi Dell' Architettvre, E Piante De Palazzi Di Roma . . . (n.d.).

9 Recentis' Romae Ichnographia Ft Hypsographia Sive Planta Et Fades Ad Magni-
ficentiam Qua Svb Alexandra VII P.M. Vurbs Ipsa Directa Excvlta Et Decorata Est,
(1676). A map of Rome.

10 Li Ciardini Di Roma (1683). Plan and perspective views of Renaissance
gardens in Rome.

NOTES

1 In the Uniled States, an original of this engraving may be seen in The Print
Collection of the New York Public Library, in Musaeum Italkum Novum . . . (Vol.
31), a collection of Italian prints, in 72 vols., collected by an English traveller and
bound in London in 1752.

2 Li Giardini Di Roma was published in Rome by Giacomo de Rossi, the firm which
published all of Falda's work.

8 Lauro, Giaco no, Antique Urbis Splendor . . . (161 2).

4 The illustrations are reproduced from the original engravings kindly loaned by
Messrs. 13. Weinreb, Ltd., 39 Great Russell Street, London, W.C.i.

63

The Connoisseur in America

M-L D'OTRANGE MASTAI

Tancrede Synave, a Late Impressionist

WITH the horrendously fast passing of
years and decades, certain artists whom
only yesterday it seems we counted as near-
contemporary, now assume the dignity of an-
cestors, or rather of its equivalent in the art
world: of 'old masters'. This applies most strik-
ingly to the group of painters, many of them as
yet little-known because eclipsed by stars of the
first magnitude, whose artistic destiny it yet was
to merge the Impressionist and Post-Impression-
ist schools in France and to overlap Renoir and
Matisse, Gauguin and Picasso. Among these
men, whose importance, both for the sake of
their own accomplishments and for their rela-
tion to the vital attistic movements of the end of
the past century and the beginning of the present
one, is only now beginning to be realized, we
count the excellent painter, Tancrede Synave,
one of whose rare works, in a private American
collection, we are privileged to be allowed to
reproduce here.

To the best of our knowledge, and we would
be delighted to receive information to the con-
trary, Tancrede Synave is not as yet represented
in any American public collection. In fact, the
major example we illustrate here may well be
unique in this country.

Born in Paris in i860 — and therefore the
junior of Monet (born 1840) by only twenty
years; and of Renoir (born 1841), by nineteen,
while, unexpectedly, he was the senior of Lautrec
(born 1 864) by four years — Synave was a pupil
of Gabriel Ferrier, of Benjamin Constant, and of
J. Lefcbvre. A profoundly conscientious artist,
he did not venture to reveal his own artistic per-
sonality until he had submitted to the sternest
academic discipline. This training was eventually
to make possible a deceptively random tech-
nique, where yet the slightest touch is extra-
ordinarily meaningful, and thereby the perfect
vehicle for Synave's morbidly sensitive vision.
Not surprisingly, the artist was drawn to the
rendering of children's portraits and of feminine
nudes, as well as scenes of Parisian life — all sub-
jects where he found free scope for a display of
scintillating and tenuous notations. At all times
his colour is muted and nacreous, but with
occasional jewel glows of flashing brilliance
(i.e., the reflections in the mirror in the picture
shown here) and the apparent amorphousness of
his delineation, where one cannot overlook
evident echoes of Oriental influence, neverthe-
less results in a plastic statement of undoubted
precision and eloquence.

Synave is on record as having first exhibited
officially at the Salon des Artistes Francais in
1894, winning then an honourable mention, and
showing continuously afterwards ; he was award-
ed a medal third class in 1 901 and a gold medal
in 1924. However, since 191 1, Synave alsoex-

Tancrede Synave. Loge de Figurantes. 2l£ X 25J in

hibited steadily at the Salon des Indepcndants,
and exposed at the Galleries Georges Petit, Bcm-
heim Jeunes, Charpcnticr, Drouant. We find
him side by side with Gauguin, Renoir, Redon,
d'Espagnat, Andre, Marquet, Maufra, Moret,
Xavicr-Roussel, etc.

Mention of this last name — that of an artist
who was Vuillard's close friend, though much
less of a recluse than his illustrious comrade —
brings to mind an inevitable comparison bet-
ween Vuillard and Synave, for indeed the two
artists show several similarities: Synave's own
diffident, hyper-sensitive personality was not un-
like Vuillard's, and therefore not of the sort to
push him to the forefront and win him im-
mediate acclaim. In mood, Synave is clearly an
intimiste, and technically he was an apparently
careless but actually meticulous worker, whose
painstaking technique shows definite rapport
w ith that of Vuillard. It is for these reasons per-
haps that he remains still chiefly a painters'
painter, treasured by connoisseurs but as yet
unappreciated by the general public. It is only
fair to add that Synave was not overly produc-
tive, and that his works are seldom met with.

In his own age, the artist did not lack proper
recognition. He was the subject of numerous

knU
■Vth

mil on

Winslow Homer, Ceramist

A LITTLE-KNOWN backwater in the might,
stream of Winslow Homer's oeiwre is the short
lived but not unfruitful interest taken by th
great American painter in decorative trivia-
more particularly, in the execution of painte
tiles, the somewhat odd pursuit to which so man
other excellent artists of the period (Alden Weii
William Merritt Chase, Abbey, Twachtmai
etc.) devoted some of their leisure time as mem
bers of 'The Tile Club' of which Homer him
self was one of the founders. The results,
general, were curious rather than admirable. Th
members met once a week for a convivial even
ing ; the pretext for which, as if any had bee
needed, was specifically the decoration of tiles c
a standard size (eight inches square) in mom

ID
1 m

V''

raid

critical studies, and played an appreciable role
the contemporary art scene as Secretary of th
group Tradition-Evohttion — of which the titl
certainly epitomizes his own life and effort:
Works by Tancrede Synave are preserved at th rtjhte
Musee du Luxembourg and in many privat
collections in Europe (A. de Manzie, P. Rebou>
M. Peyrent, R. Schreiber, etal.).

bo tai

IT
Pad

n

&nlt

64

inslow Homer. Women on the beach. Three of a set of nine painted tiles each 8 in. square. Signed and dated 1878. The dolphin below is one of the two
idant decorations, all the tiles together being intended as a fireplace surround. The Maynard Walker Gallery, New York.

roiiK' design (because of the artificial light),
so, on occasion, the members ventured forth
excursions in the countryside.
However, Homer's enthusiasm for the project
d activities seems to have waned very rapidly,
le club was founded in 1877, and we do know
it in the following year Homer painted a num-
r of tiles, including two entire sets for firc-
iccs. Yet that even these may have been done
iependently is the opinion of Mr. Lloyd Good-
h, in his authoritative work on Winslow
miev, who points out the careful design and
lour treatment, very much unlike the sketchy,
sual execution of most of the club members'
oductions. It seems likely therefore that they
;re done in Homer's studio, at leisure and as
ious art work rather than as the current
ix dc societe of the brotherhood.
There is in fact a definite gradation of im-
trtance even between the two fireplace sets,
ne, although done for a member of the artist's
mily, was adorned with some rather nauseating
eudo 'eighteenth-century' shepherdesses, bare-
redeemed from vacuity by a certain naivete,
it nevertheless showing, to quote Mr. Good-
:h again, 'the devastating effect of the decora-
te mania on the most hard-shelled Yankee of
em all'.

One is justified in feeling that this may well
fleet also the alien influence of the Tile Club,
id that Homer, boorish though he may have
>peared to his contemporaries, was in fact
Ighting for sheer artistic survival in wrenching
mself away from the association. While most
the members certainly were easily able to
ke this in their stride — as a pleasant parlour
ime and nothing more — such frivolity and lack
: Puritan earnestness was unacceptable to the
"oud and savage Homer, force himself though
: might. This great wild sea-bird made a
ithetic and totally unsuccessful attempt, to
mgeniality with a cackle of highly domesti-
ited fowls, and we can presume that his early
•.thdrawal was a relief to both parties.
There is a breadth of vision and originality of

execution in the second'of the two known fire-
place sets that points to fully regained freedom.
We illustrate here both the horizontal panel,
showing a seascape with two women in the
foreground, and one of the two vertical panels
depicting stylized dolphins — surely a hackneyed
theme, but interpreted by Homer with striking
individuality, both in the plastic treatment
and in the colouring. This unusual chromatic
scale of white, pale blue, and tones of russet, is
best described perhaps as limpid — it does suggest
the coolness of the deep, still ponds between
rocks, where the brown weeds wave and cast
iridescent shadows, and pearl-like bubbles rise
silently and unexpectedly, though our eye is
generally too slow to trace their cause: some
minute scuffling and rustling, yet matters of life
and death, that animate these microcosms.

The scene of the two women walking 011 the
beach was taken from the drawing titled Evening
on the Beach done in 1871 (in the collection of
Mrs. Thomas Hitchcock, New York) and except
for the necessary simplification in this less
flexible medium, the ceramic duplicate is en-
tirely faithful to the graphic original. The com-
position centering the two figures has been ex-
tended on both sides, and a greater feeling of
stillness prevails, as the foaming breakers have
been done away with and the sea is now shown
lapping tamely at the shore, as on a calm summer
evening.

The tiles adorned the fireplace of the dining-
room in the house built in 1878 by J. Foxcroft
Cole, a friend and fellow artist of Homer, on
Everett Avenue, in Winchester, Massachusetts.
The house was remodelled in 1914-1915 by a
new owner, Charles W. Young, and a larger
fireplace took the place of the first. The tiles were
removed and stored away until quite recently.
Although they were seen a few years ago in the
Homer exhibition at the Museum of Fine Arts,
Boston, they arc largely unknown to the general
public, but may now be viewed, in a setting
approximating very closely to the original one,
at the Maynard Walker Gallery, in New York.

l A

05

John Singleton Copley. Watson and the Shark. 71J X 90J in. The National Gallery oj Art, Washington ,
D.C.

Regency kidney shaped writing table of macassar ebony with ormolu mounts. Width 51 in. Depth
20 in. Height 28| in. English c. 1810. Florian Papp, Inc., New York.

66

Hie presumes however that Sir Brooke
tson must have been held in high regard, and
! returned the sentiment, by Mr. Clarke, the
,t's father-in-law, a strong Tory who had
fed with his sons to Canada — and with good
on, since he was the original consignee of the
ork cargo of tea that was so fatefully brewed
le 'Boston tea party'. (In other ways, Clarke
suffered so grievously for his views that he
awarded a compensatory pension, up to his
:h, by the British government.)
aimed in 1778, this large-scale picture
>nged originally to Sir Brooke Watson him-
— which leads one to suppose that this is the
ial work, later followed by the two other
Bb versions: one in the Museum of Fine
s, Boston (Massachusetts) and the other in the
roit Institute of Arts (Michigan). At his death
1807, Watson bequeathed the picture to
rist's Hospital, London. After acquiring the
:ure directly from the Hospital, the Washing-
National Gallery commissioned G. Gregory
pko to paint an exact copy of it, which now
gs in Christ's Hospital in place of the original,
'opley's Watson and the Shark was the paint-
that made the artist's reputation in London,
ere it was exhibited at the Royal Academy in
'8, and made possible his long-standing wish to
iome a painter of great historical scenes like
fellow American, Benjamin West. It was in
: at the urging of both West and Sir Joshua
jfnolds that Copley had left America in 1774,
tudy art in Europe, giving up without a qualm
already established reputation as the most fash-
able and prosperous portrait painter of his day
colonial America. Copley never returned to
native land, but his sympathy was with his
npatriots and he has the distinction of having
:n the first to fly an American flag on British
1, albeit in paint : he was at work on a portrait
Elkanah Watson, in the background of which
had introduced a ship, and on December 5,
to, artist and model listened together to the
ig's speech recognizing America's indepen-
tce; on their return to his house, Copley at
ce painted on the ship's mast the first American
5 displayed in England (the small flags treasured

by American prisoners, and made of scraps of
clothing, etc., necessarily had to be secreted till
then).

Authorities have hailed Watson and the Shark
as 'one of the most important works painted by
an American in the 18th century' because
initiating 'one of the great themes of American
painting, the drama of man's struggle against
nature . . . which Winslow Homer might have
chosen and which is in fact closely parallel to one
of Homer's best-known subjects' (i.e., The Gulf
Stream, showing a derelict boat, disabled by a
hurricane, on which still remains one member of
the crew barely able to cling to the wreck's hull,
while voracious sharks circling about await the
release of his desperate hold).

It is also of interest to note that the painting of
Watson and the Shark antedates by two decades
Gericault's Radcau de la Meduse, and a connection
of sort may be established. Yet one should not
overlook the fact that the essential horror of the
French work depends not on the dramatic situa-
tion of the shipwrecked mariners, adrift in the
merciless immensity of the ocean, but on the
sense of isolation, of total abandon by God and
man, the cutting oft" from all humanity, in a
spiritual as well as physical sense, that is about to
drive these erstwhile civilized creatures to can-
nibalism. On the contrary, in Watson and the
Shark, humanity has in no way relinquished its
hold : not only is Watson surrounded by its sym-
bols (ships, buildings, etc.) but his companions,
far from undergoing the slow degeneration that
reduced the passengers of the Meduse raft to the
level of brutes, are shown in the extremes of
active compassion and selfless heroism. We have
here therefore a zenith, and not the dark nadir of
the Raft oj the Medusa upon which even the last
star of hope had ceased to shine. Nevertheless, in
a very genuine sense, Watson and the Shark may
be looked upon as a precursor of the Romantic
revolution precipitated by the famous Gcricault
canvas which was the sensation of the official
French Salon in Paris in 18 19. But it is an opti-
mistic Romanticism, and it is fitting indeed th.it
it should fall to an American artist to reconcile
these contradictory terms.

Far left. Bronze kuang, c. 1000
B.C. Part of the Chester Dale
Carter collection of ritual
Chinese bronzes which was
recently acquired by Prince-
ton University Art Museum.

Left. Renoir. La danseuse au
voile, height 253 in. One of a
group of ten bronze casts
recently made from the plaster
original. This cast is on view
at the Schoneman Galleries,
Inc., New York, another al-
ready forms part of the Lester
Avnet Collection, New York.

One of a pair of Jacobean silver gilt goblets,
London, 1619, mark W F in a shaped shield,
height 7 in., weight 10 oz. 14 dwt. From an
exhibition of antique silver dining accessories at
the Sterling and Francine Clark Art Institute.

67

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I

O HANS ROAD. KNIGHTSBRIDGE. LONDON. S.W.3
Telephone: Kensington J266

Members of The British Antique Dealers Association

dA. restrained early Regency mahogany
breakfront cabinet with a shaped
marble top. Circa 1800

Length 66 inches
Depth 16 inches
Height 33 inches

GROsvenor 1747/8

A mid 18th Century carved statuary marble ctnmneypiece wit
Originally at j\'o. 17 Hanover Square Shelf 7 ft. 5 in.

STANLEY J. PRATT

27 MOUNT STREET, LONDON, W.l

LIMITED

ER JUBILEE FAIR NUMBER

CHRISTIE'S

will offer at auction on FRIDAY, JUNE 25th

IMPORTANT ENGLISH PICTURES FROM
THE NORTHWICK PARK COLLECTION (Part II)

the property of
The late Captain E. G. Spencer-Churchill, M.C.

A View of Westminster Bridge by Samuel Scott - 211 by 46] in.

A View near Trowse, Norwich by James Stark - on panel - 22 by 30A in.
Illustrated catalogues (39 plates including 3 in colour) £2 post free. Plain catalogues 6d. post free

Our Representative in America:
ROBERT M. LEYLAN

Christie. Manson & Woods (USA) Ltd. 36 East 57th Street, New York 22, N. Y.
Tel: Plaza 2-1266 Cables: Chriswoods, New York

CHRISTIE, MANSON & WOODS, LTD.

8 King Street, St. James's, London. S.W.I

Telephone: TRAfalgar 9060 Telegrams: Christian, London, S.W.I

HOWARD

(ANTIQUES) LIMITED

In important 'Chinese'' Chippendale
irved softwood' Director' Show Cabi-
el in the true Chinoiserie manner,
ie scrolled japanned decoration is
n it neutral cream coloured "round:
contains a mirror back and two
hiss shelves for use. English 18th
entury.

ize: 38 in. a ide
84 in. high
16 in. deep

in illustration of the design from
Inch this cabinet is derived is shewn
n Chippendale's 'Director' circa
760, plate no. cxxxiii

8 DA VIES STREET
BERKELEY SQUARE
LONDON W.l

Telephone: Mayfair 2628

FINE FURNITURE • CARPETS ■ PAINTINGS
PORCELAIN • WORKS OF ART

36 NEW BOND STREET
LONDON W.l

Telephone: Mayfair 4884
Cables: Howtique, London

The Connoisseur

JUNE 1965

Vol. 159 No. 640

Must the National Gallery go on buying?

69

At the Villa Millbrook — 1

CLIFFORD MUSGRAVE

70

The Mannerist Goldsmiths: 4. England Part I. The Holbein designs

J. F. HAY WARD

80

Florentine baroque bronzes in an English private collection

HUGH HONOUR

85

A Liverpool Punch Bowl?

GERARD BRETT

91

Recent examples of the work of Laurence Whistler

ANDREW GRAHAM

92

Drawings by Kyffin Williams

RALPH EDWARDS

98

The Connoisseur Catalogue to the Silver Jubilee Antique Dealers' Fair and Exhibition, Grosvenor

House, London. June 9-24 103

-124

Chinese Regency and the provenance of four pagoda stands

HELENA HAYWARD

105

A bookcase and bureau-bookcase of neo-classic design

E. T. JOY

109

A cabinet from Weeks' Museum

E. T. JOY

117

Renoir's 'Venus Victorious' in Bond Street

RONALD PICKVANCE

125

Selling at Sotheby's

126

International Saleroom

127

The Art Market — Then (1934): Now (1965)

DAVID COOMBS

130

The Connoisseur's Diary-

111

Belle Epoque and the Ferrers Gallery

A I A S T A I R GORDON

132

In the Galleries

ADRIAN BURY

133

Art in the Modern Manner

ALASTAIR GORDON

134

Paris Dispatch

GERALD SCHURR

135

The American Connoisseur

An outstanding American catalogue — to the Robert Sterling Clark Collection

F. E. STONOR

136

The New York conservation of a peripatetic portrait by John Singleton Copley

SHELDON KECK

139

The Connoisseur in America

m-i. d'otrangemastai

144

©June 1965. National Magazine Company Limited
On Cover

George III, 4 inch high, 61 inch long silver-gilt jewel case, by Thomas Heming, London, 1771, engraved with the cipher of
Queen Charlotte. Weight, 32 oz. II dwt. This can be seen on Stand 77, Messrs. S. J. Phillips, Ltd., at the Antique Dealers'
Fair, Grosvenor House, London, W. 1 .

Colour Plates

The Villa Millbrook, Jersey, Channel Islands, home of Mrs. Dorothy I [art

The Drawing Room chmincypicce 73
The Drawing Room 74
The Flemish Room 74

A set of four Chinoiscrie pagoda stands 1 07

Exhibited by Messrs. H. Blairman & Sons at the Antique Dealers' Fair {Stand 37), Grosvenor House, London, W.i.

Break-front bookcase of satinwood with circular purplewood glazing bars linked by rosettes, c. 1785 108

Exhibited by Messrs. Norman Adams, Ltd. at the Antique Dealers' Fair (Stand S), Grosvenor House, London, It'. 1.
Pair of Ralph Wood pottery figures of Simon and [phigenia 113

Exhibited by Messrs. D. M. & P. Manheim at the Antique Dealers' Fair (Stand jj), Grosvenor House, London, W.I.
Early eighteenth-century blue/green lacquer cabinet, one of original pair of which the companion piece is now in the

permanent collection of the William Rockhill Nelson Gallery of Art, Kansas City, Missouri 1 14

Exhibited by Messrs. Mallett & Son (Antiques) Ltd. at the Antique Dealers' Fair (Stand -$), Grosvenor House, London, W.I.
Cabinet from Weeks' Museum, veneered with mahogany and crossbanded with satinwood. Regency style, 1790-1800 119

Exhibited hy Messrs. Hotspur Ltd. at the Antique Dealers' Fair (Stand 26), Grosvenor House, London, W.l.
John Singleton Copley. 'Portrait of Mrs. Humphrey Dcvereux'. Seven illustrations showing the portrait in various stages of

restoration and details 138

On long term loan with the National Art Gallery of 1 1 'ellinoton. New Zealand.

FOUNDED 1901

Editor:

L.G. G. RAMSEY

Assistant Editor:
David Coombs

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Ruari McLean

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Second class postage paid at New York, N.Y., U.S.A. Printed in Great Britain.

The Connoisseur, June, 1965

!l

SOTHEBY'S

(Founded 1744)

announce the Sale on
Wednesday, 30th June, of

IPORTANT OLD MASTER
I PAINTINGS

the property of
V ol. Sir WATKIN WILLIAMS-WYNN, Bt.
Madame MICHELE STOCLET
(from the Collection of
the late Adolphe Stoclet)
RANCIS FRANCIS, Esq., of Bird Cay,
Bahamas
Mrs. DEREK FITZGERALD
and other owners

Velazquez. The Count of Olivares.

Illustrated Catalogue (33 plates) IDs.

SOTHEBY & CO., 34 & 35 NEW BOND STREET, LONDON, W.l

Telephone: HYDc Park 7242 Telegrams: Abinitio, Telex, London, W.l

AMERICAN REPRESENTATIVES: SOTHEBY'S OF LONDON LTD.
Telephone: PLaza 8-2891 717 Fifth Avenue, New York 22 Telegrams: Abinitio, Telex, New York

81 by 43 inches.

The Connoisseur

Our contributors
in this issue include :

Clifford musgrave, Director of the Brighton
Royal Pavilion and author of many books and
articles on English and French furniture.
J. F. hayward, of the Department of Woodwork,
the Victoria and Albert Museum, author of
numerous books and articles on English and Con-
tinental antique silver, arms and armour, etc., on
which he is an international authority.
HUGH honour, author of the top selling book,
Chinoiserie and an international authority on a
wide range of art subjects, in particular those of
the eighteenth century.

Ralph Edwards, author of The Dictionary of
English Furniture, and an authority on British
painting.

E. T. joy and Helena hayward, two leading
historians of English antique furniture.
Sheldon keck, Director of the Conservation
Centre of the Institute of Fine Arts, New York
University.

Gerard brett, Curator of the European Depart-
ment of the Royal Ontario Museum.

Next

month in

The Connoisseu:

The July number of The Connoisseur, the international |
magazine designed to meet the tastes and requirements of
readers, will include the following contents :

Clifford Musgrave describes and illustrates in colour ai
monochrome the French and English furniture and paintiis
in the collection of Mrs. Dorothy Hart at her new home-
Villa Millbrook, Jersey.

Ronald Pickvance contributes Part 3 of his series of fcr
illustrated articles on Degas Drawings in English pub:
collections; and an article on the current Bonington I-
hibition.

E. T. Joy presents some unrecorded and unpublished masoc
ceremonial chairs of the English Georgian period at Fri-
mason's Hall, London.

Jose Gudiol, Director of the Spanish Art Institute, Bar-
lona, produces new facts on some Self-portraits of Vel-
quez.

W. J. Strachan, a specialist writer on the work of the Sch)l
of Paris, and author of The Artist and the French Book, co-
tributes No. 10 in a series of twelve monographs on -
dividual French artists of the Beau Livre — this article fear-
ing Andre Minaux. His next contribution will deal with e
work of Jacques Houplain.

4

Yvonne Hackenbroch provides a new appreciation for lie
Italian eighteenth-century jewellery of G. B. Scolari — two f e
pieces in colour — with particular reference to two items y
Scolari in important New York private collections.

Carl Christian Dauterman illustrates and fully describe a
leading American Company Museum in English Silver in te
collection of The Folger Coffee Company, Kansas City.

Also, in response to popular demand, an enlarged Inv-
national Saleroom — and all the regular features, include
Connoisseur in America, Paris Dispatch, Round the Gallers,
Art in the Modern Manner — and the most penetratg
reviews of all the new art books.

SOTHEBY'S

(Founded 1744)

announce the Sale on Wednesday, 23rd June, of

IMPRESSIONIST AND MODERN
PAINTINGS. DRAWINGS AND SCULPTURE

the property of

The Rt. Hon. The Lord HARVEY of TASBURGH, G.C.M.G., G.C.V.O., C.B.
Mr. DAVID DANIELS, of New York City, LEONARD STEIN, Esq.,
Mr. and Mrs. EDWARD M. M. WARBURG, of New York City
Mrs. S. GRETZER, of Copenhagen, and other owners

Berthe Morisot. Filiates an Jardin, La Hotte. 1885. 23 \ by 28J inches

Claude Monet. Zaandam. Signed, c. 1871-72. 1 5£ by 28} inches
Illustrated Catalogue (132 plates, 21 in colour), £1

SOTHEBY & CO., 34 & 35 NEW BOND STREET, LONDON, W.l

Telephone: HYDe Park 7242 Telegrams: Abinitio, Telex, London, W.l

SOTHEBY'S

(Founded 1744)

announce the Sale on Wednesday, 7th July, of

FINE ENGLISH EIGHTEENTH AND NINETEENTH
CENTURY DRAWINGS AND PAINTINGS

the property of

Sir ARTHUR ELIOTT, Bt., Sir WATKIN WILLIAMS -WYNN, Bt.
Mr. and Mrs. HUGH BALFOUR, and other owners

Thomas Gainsborough, R.A. A Wooded Landscape with Hagar and Ishmael. 29% by 36A inches.

Illustrated Catalogue 7s. 6d.

SOTHEBY & CO., 34 & 35 NEW BOND STREET, LONDON, W.l

Telephone: HYDe Park 7242 Telegrams: Abinitio, Telex, London W.l.

AMERICAN REPRESENTATIVES: SOTHEBY'S OF LONDON LTD.
Telephone: Pl.a^a 8-2891 717 Fifth Avenue, New York 22 Telegrams: Abinitio, Telex, New York

■

glish- Early Regency period, circa 1810
ood Breakfast Table with brass inlaid embellishment, t
carved wood leaf motif to the pillar still r^- ■

n. . P lar StlJ1 ret£»nmg the original gilding

menS,ons: Diameter 4 ft. 3 in. Height 2 ft 4* m

acquire through enterprise with discriminate

We restore through expertise to perfection

We e!

English - Early Regency period, circa 1805
A magnificent double sided mahogany Writing Table still retaining the original brass mounts
Dimensions: Maximum length 5 ft. Depth 2 ft. 8 in. Height 2 ft. 6 in.

)VAL

>reciation

Early i8th Century English oil painting in hue Chippendale carved frame.
Small Louis XVI Commode, signed by J. ii. henry (Maitre in 1777)
Louis XV Armchair, signed by c. jacoh (Maitre in 176s)
Adam gilt oval back Armchair, circa 1780

Gerald Kenyon

FINE ART & ANTIQUES

36/37 SOUTH WILLIAM STREET, DUBLIN,

Dublin 73945

Also: II. Kenyon The Old Leche House Chester Chester 24742

138 REGENT STREET, LONDON, W.l

AND AT LLANDUDNO

A GROUP OF EIGHTEENTH CENTURY GOLD SNUFF BOXES

Top Left Carved agate box, formed as a Horse's Head with a ruby, emerald and diamond thumb-piece.
Dresden c. 1760. Height 2| in.

Right Multicoloured enamel Peacock-butterfly box. Geneva c. 1800. Length 3! in.

Front Left Oval enamelled box by Peter Johan Ljungstedt. Stockholm 1779. Length 3 in.

Right Chased George II gold box with classical figures, signed F.H. London mid-l8th Century. Length 2 \ in.

Jfmt OTorasttr porcelain

A pair of yellow ground Baskets; a Leaf Dish with coloured
butterflies ; and a rare Vase with exotic bird panels on a maza-
rine blue ground. Circa 1770 period.

From our Collection of Fine Eighteenth Century
English Porcelain

51 Bourke
Melbo
Vic

The Connoisseur, June, 1965

XII

Antique silver gilt Toilet Service made by
Isaac Liger for the Earl of Stamford, London 1728

Antique silver gilt Toilet Service made by Isaac Liger for the Earl of Stamford, London 1728
ISAAC LIGER was a celebratediHuguenot Goldsmith, born in Saumur, France.

The decoration of 17th-Century English silver was mainly inspired by Dutch and German models, becoming decadent towards the end of the century. The new inspiration
of decorative design was mainly of French origin. In the early 18th Century a more lavish use of the precious metal inspired objects of perfect form with no decoration
and relying on their form and beauty of workmanship, the simplicity of which we associate with Queen Anne designs. Yet gradually the Huguenots introduced a standard
of rich decoration to this simplicity, which has been unsurpassed in the history of English Silver. The French Regence (1715-1723) was bold in detail and relief, with a
marked design for richer effect and the fine execution of the cast, chased and applied ornament was richly complemented by superb embossing and engraving. The Huguenot
Goldsmith introduced this particularly high standard of rich decorative work to English Silver and their strapwork and trelliswork is particularly beautiful.
Toilet Services were known to have been made up to the second half of the 18th Century, but very few complete Services have survived. The Earl of Stamford's Service is
one of the few remaining. The Toilet Service was a very rich and personal treasure of its owner and in design and execution received very careful attention to detail.
This very famous Toilet Service is that w hich is referred to by Mr. C. C. Oman, in his 'English Domestic Silver' (1934 edition).

The Service of 24 pieces is described :

Toilet Mirror, the Frame superbly chased and embossed.

Pr. Comb Boxes, the subject of the decoration, No. 1 . The fall of Phaeton into the river Eridanus; No. 2. Clymene. the Heliades and Cycnus mourning for Phaeton.
Pr. Large Octagonal Powder Boxes with Covers: subject decoration: No. 1. Eurydice bitten by the Serpent; No. 2. Orpheus in the Underworld.
Pr. Smaller Octagonal Powder Boxes with Covers: subject decoration: No. 1. Thisbe escaping from the Lion; No. 2. Death of Thisbe.

Pin Cushion Casket, 2 Two-handled Bowls and Covers, 2 Circular Waiters, 2 Octagonal Essence Bottles, Small Vases and Covers, 2 Candlesticks, Snuffer and Snuffer
Tray, 2 Comb Brushes, 2 Hair Brushes.

Weight 781 ozs. 18 dwts. Perfect Hallmarks

We shall he happy to answer your enquiries and to give you details of the Silver
from the Collection of

LOUIS WINE W

Fine Art Dealers, Jewellers and Silversmiths

31 & 32 GRAFTON STREET, DUBLIN

Established 1840

Tel: Dublin 73865

They overran the House without loss of time
(Fatima invites her Friends)
VC'atercolour

By Edward Dulac, signed and dated 1910
121 in- 10 in.

Illustration for 'Blue Beard' in 'The Sleeping
Beauty and Other Fairy Tales' (Hodder & Stoughton)

The Fairy Pedlar

'He came to us with dreams to sell for we had

need of dreams'

Watercolour

By Jessie M. King

91 in. 12 in.

Daddy's Waistcoat
Pen and ink
By Phil May, R.I., signed and dat
7 in. x 5 in.

SOME BRITISH ILLUSTRATORS

Water colours and drawings from 1840 including works by John Leech, Charles Keene,
Edmund Dulac, Arthur Rackham, Jessie M. King, Hugh Thomson, etc., etc.

JUNE 9th to JUNE 26th

THE FINE ART SOCIETY LTD

148 NEW BOND STREET, LONDON, W.i
MAYfah-5116 9.30-5.30 Sat 9.30-1

The Arcadians Cricket Club Inspecting the Pitch

Watercolour

By Frank Reynolds, R.I.

lOjin. 8;! in.

Cetewayo in London.

Mrs. Ponsonby de Tomkyns realises her life's
ambition at last, and receives Royalty in her own
House.

Sepia ink drawing

By George Du Maurier, A.R.W.S.

9J in. 10|in.

WtmfreD William* (gntiquess)

BOW

An extremely rare model of the Sawyer adapted from
a Meissen original.
Height sA in. Circd 1755.

ENGLISH DELFT

A very rare idth century Mailing |ug with brilliant
powder-blue glaze.
Height 61 in.

Colour transparencies available

38 SOUTH STREET, EASTBOURNE, SUSSEX

Members of the British Antique Dealers' Association Ltd.

Tel: Eastbourne 780

Cables: Antiquity, Eastbourne

OPEN ALL DAY SATURDAYS

HOI 'II >

i

MEMBERS OF THE BRITISH ANTIQUE DEALERS' ASSOCIATION LTD

Guide
Marks
Bntish

Origin or
h and
hash Silver Plate

Mid ]'- I -nr.irv

Old Sheffield Plate
Makers' Marks

1743—1660

ANTIQUE SILVER
A set of three Candelabra, 16 in. high overall
and a pair of Candlesticks en suite.
London hallmarked 1781-95
Makers: John Wakelin, William Taylor and John Schotield

COLLECTIONS OR SINGLE PIECES
PURCHASED

TRADE ENQUIRIES
INVITED

A BOOK ON HALLMARKS
Paper covered 8s. 6d. post free
Leather covered 18s. 6d. post free

HOLMES LTD., 29 OLD BOND STREET, LONDON, W

( Our Only Address) Telephone: H YDE PA RK 13'.

The Connoisseur June. 1965

The Hallsborough Gallery

EXHIBITION

FROM BUTINONE TO CHAGALL

Fine paintings and drawings of six centuries

MAY 12 JULY 23

WEEKDAYS 10 - 6 SATURDAY 10 - 12.30

Fully illustrated catalogues with 52 colour plates on sale in aid of
THE WINSTON CHURCHILL MEMORIAL TRUST, price £1 plus postage

L43 NEW BOND STREET, LONDON W.i

LPHONE: GROSVENOR 1925 & 4585 CABLES: PICTORIO LONDON, W.I

The Hallsborough Gallery {continued)

143 New Bond Street, London W.

May 12

continued The Hallsborough (iallcrr

ray 12- July 2)

L43 Vew Bond Street, London W.l

14) New Bond Street, London W.l

[continued The Hallsborough Gallery

The Hdllsborouxh Galler ) 1 Continued

WILLEM VAN DE VELDE THE YOUNGER 1633-1707 SEASCAPE WITH SAILING BAU(>'

Signed and dated 1670 Canvas, 14.4 X 2i| inches (37-5 > 54 "<><•)

143 New Bond Street, London II .1 May 12 - July |

Continued The / f CI / /s/)( )/'()//!>/ / (idllci

c.

hy 12- July 2) 143 New Bond Street, London II .1

The Hallsborough Gallery

Continued

14) New Bond Street, London IV. 1

May 12-Julyp

14) New Bond Street, London II .1

The Hallsborough Gallery

ALESSANDRO MAGNASCO 1667-1749

CHRIST MINISTERED BY THE ANGELS Canvas, 76 < 56 inches (193 14^2 cm.)

141 New Bond Street, London II J

May 12 -Jul)-

fi LIPS of HITCHIN

! (ANTIQUES) LTD.

be i I la nor ^Jfonsi
aferl

'< n bureau bookcase with original
m , circa 1720. Particularly to be
F re the finely figured burr wal-
( eers ami the interesting interior.
I 6ft. 10 in., width 3 ft. in.,

W ft- Hi it'.

elephone Hitchin 2067

1 16, Grosvenor House Fair

BRACHER

&

SYDENHAM

(Members of the British Antique Dealers* Association Ltd.)

A Pair of LOUIS XV Candlesticks
Paris 1772 by Jean Nicolas Meniere.
Fermier General Julian Alaterre.
Height: lOi in. Weight: 58 oz.

We are exhibiting at the
Antique Dealers Fair,
Grosvenor House, Park Lane.
Stand No. 23.

QUEEN VICTORIA STREET
READING, BERKSHIRE

Telephone: 53724

Established: 1790

An exhibition of paintings by

DENNIS FLANDERS

will be //(•/</ at

THE CHRISTIE GALLERY

BEDFORD

from Tuesday 6th July until Saturday 17th July

Jli'lli

CAMBRIDGE

Chichester from the Bishops Garden
by Dennis Flanders

54 ST. LOYES STREET, BEDFORD

Telephone: Bedford 4536

Anglo-Saxon Architecture,
1 & 2

H. M. TAYLOR & JOAN TAYLOR
A complete catalogue of the Anglo-Saxon fabric
surviving in the churches of England. Volume I con-
tains a survey of the architectural features of the
period and the reasons for describing them as Anglo-
Saxon. Volume 11 is the catalogue, and contains 362
plans and diagrams and 280 photographs.

The set of two volumes, £10 lO.v. net

CAMBRIDGE UNIVERSITY PRES!

The Connoisseur, June, 1065

XXVI

WILLIAM CLAYTON LTD.

FINE CHINESE JADE CARVINGS, PORCELAIN AND ORIENTAL WORKS OF ART

An extremely fine and important Imperial Jade Brushpot; pi t'ung ol translucent grej colour
v\ith brown striations supported on five bracket feet and carved round the sides in deep reliel
with a continuous mountainous landscape, including five of the Immortals in front of a pagoda,
the landscape with pine and waterfalls.

Height 6J inches, diameter 7! inches

fiarlv Ch'ien-Lung period, A.D. 1756-1795 on wood stand

.1 specimen from oar Jiouc selection oj Jine JciJc

38 BURY STREET, ST. JAMES'S, LONDON, S.W.I

TELEGRAMS: WILCLAYTON, LONDON WHITEHALL 1173

A fine and rare, Louis XV, rosewood and kingwood commode
with rococo ormolu mounts of excellent quality. French, circa 1740.

Height 3i| in. Width 255 in. Depth 17 in.

French furniture
and Sculpture

Garden statuary
and furniture

at

bourdon flouse

2 DAVIES STREET • BERKELEY SQUARE • LONDON W.I

ENGLISH FURNITURE— 40 NEW BOND STREET, W.I

Telephone: MAYFAIR 2444/5

Telegrams: MALETHOUS LONDON

THE LEFEVRE GALLERY

XIX and XX CENTURY
FRENCH PAINTINGS

30 BRUTON STREET LONDON Wl

Telephone: Mayfair 2250 Telegrams: Drawings, London, W.I

'Venus Verticordia" 1858
D. G. Rossetti
Oil on vellum
25i 214 inches

The Connoisseur, June, 1965

XXVIII

!

BY APPOINTMENT ANTIQUE DEALERS TO THE LATE QUEEN MARY

MALLETT

MALLETT & SON (ANTIQUES) LTD., 40 NEW BOND STREET, LONDON, W.l. TELEPHONE GROSVENOR 7411 (5 LINES)
AND AT BOURDON HOUSE, 2 DAVIES STREET, LONDON, W.l

KNOEDLER

Established 1846

Old and Contemporary Masters

LONDON

34 St. James's Street
S.W.i

NEW YORK

14 East 57th Street
N.Y. 1002 2

PARIS

8^ bis rue du Faubourg
St. Honore 8°

C. R. FENTON
& Co. Ltd.

PACKING

SHIPPING

Shipping S forwarding Agents

VIES STREET, W.1

PHONE • MAYFAIR
687S ( 4 LINES )

WAREHOUSES

BEACH r ROAD.
OLD FORD. E.3.

INSURANCE

of Antiques, Furniture, China, Glass, Pictures, Objets d'art, etc.

Overseas Removals

LIVERPOOL • SOUTHAMPTON GLASGOW PARIS NEW YORK

Cable Enquiries: Fentocomp, London W.l

The Connoisseur, June, ig<S>

XXX

HALTER H. WILLSON LTD

Queen Anne
London 1703 by Joseph Fraillon
Height — 8 1 inches

15 KING STREET • ST JAMES'S • LONDON S.W.i

WHITEHALL 6463

Exhibiting at the Antique Dealers' Fair, Grosvenor House, Stand No. 12

XXXI

DENNIS VANDERKAR GALLERf

Stand No. 52
Antique Dealers'
Fair & Exhibition
Grosvenor House
June 9-24

JAN PETER VAN BREDAEL (Antwerp i fe 54- 1 74c) Copper panel 1 r| X 1 gjins.Le

14 Mason's Yard
Duke Street St. James's
London S.W.i

Tel: Whitehall 6994 and Hampstead 3740

Ik1

lb

MEICHIOR LIE HONDEC
(Utrecht 1 b 36- 1 69 c Amsttlam

and

JAN BAPTIST WEFJ
(Amsterdam ih2i-if>6j Dei
Canvas jo jo. J> insB

Signed w ith initials by botl

PICCADILLY

H

PC JERMYN
H

</)
In

H

in

Ui

E

STFE

H RYDER STREET

MASd'fi

yah

V

Dennisi

GaiVi

KING STREET

Illustrated Catalogue of paintings which we are exhibiting free on request

ur showrooms at
North Row, Park
ane, London, W.l
re a few minutes
Ik from Grosvenor
House towards
Garble Arch. Your
isit there should
>ve interesting. We
•e an exceptionally
id selection of 17th
nd 18th Century
furniture.

STAND NO. 19
GROSVENOR HOUSE
ANTIQUE DEALERS'
FAIR

An exceptionally interesting set of six Regency maple wood chairs with particularly
fine carved detail. The chairs are of maple and are of lovely golden colour.

Ion Showrooms
> North Row
rk Lane, W.l
: MAYfair 1593

H. W. KEIL, LTD.

Member of the British Antique Dealers' Association Ltd.

BROADWAY, WORCS.

Telephone: Broadway 2108

yth & i8th Century Furniture • Works of Art

Midhurst, W. Sussex
Knockhundred House
Knockhundred Row

Tel: Midhurst 133

Century mahogany Gainsborough armchair with carved

legs and arms. Fine example,
h 1 ft. 11 in. Depth 1 ft. 10 in. Height 3 ft. 2 in.

Exceptionally fine early 18th Century walnut corner armchair,
the legs beautifully carved and well proportioned. The pierced
splats are veneered and carved. The arms and back rests are
veneered in finely figured walnut. An outstanding example.

LONDON

69 Upper Berkeley Street.

Portman Square, W.l

Telephone: PADdington 6595
Tables: \ ivantique. London \\ .

D. M. Cr P

MANHEIM

Member's of The British An'ique Dealers' Association Ltd.
and Art and Antique Dealers' League of America

NEW YORK

46 East 57th Street,

New York 22, N.Y.

Cables:
Vivantique. New York

EIGHTEENTH CENTURY ENGLISH
ENAMEL BONBONNIERES

Five rare and delightful examples.
Top left: Bilston shoe, decorated with
coloured flowers on white, brilliant vellow
heel and brown sole. 3| in. long. Circa 1770.
Top right: Battersea head of a ladv. her
coiffure decked with lace and a rose-red
ribbon. The oval lid is at the back of her
head. 3 in. high. Circa 1755.
Bottom left: Bilston brown hare, couchant
on grassv mound. Oval lid is painted with
exquisite bouquet of coloured flowers. 2 J in.
long. Circa 1760.

Bottom centre: Bilston dog-head. tan. with
black and white markings and grev nose.
Circular lid painted with a single rose. 1| in.
long. Circa 1770.

Bottom right: Bilston white spaniel with
vellow and black ears, tail, and markings,
couchant on a jade-green cushion edged with
pink and white. Oval lid of pink check with
coloured spray of flowers. 2^ in. long.
Circa 1770.

STAND 33,
GROSl ENOR HOUSE ANTIQUE DEALERS' FAIR

MORIC
KNBRIJVF"

(London) Ltd.
83 13LSHOPSGATE, LONDON, E.C.2

Tel. LONdon Wall 1450

Tel. Address: Osencarpet

We are interested in purchasing only finest examples

I AND ORIENTAL
■ARPETS AND RU

Rare silk items of especial interest
Entire collections negotiated

In Association with

Morice Ossendryver (Pty) Ltd.,
Amcor House,

Marshall & Simrnonds Street,
Johannesburg, South Africa

Morice Ossendryver (Pvt) Ltd.,

Salisbury,

Southern Rhodesia

The Connoisseur, June, ii/>s

XXXIV

We are exhibiting
at the

Antique Dealers' Fair
GROSVENOR HOUSE
Park Lane,
London W.I
JUNE 9-24
STAND No. 32

(At the foot of the Grand Staircase)

HARR

ANTIQUE GALLERIES, THIRD FLOOR
Member of The Hritish Antique Dealers' Association

HARRODS LTD KNIGHTSBRIDGE LONDON SWI

Tel SLOane 1234

TELEX 24319

XXXV

DELOMOSNE AND SON

LIMITED

Antique Porcelain and Glass

, v

V
V

A pair of 18th century tdass Candelabra ol ran- design
and high quality. Height: 24 in. Circa 17(15

Antique Dealers' Fair and Exhibition Stand No. 15

4 CAMPDEN HILL ROAD
KENSINGTON LONDON W.8

TELEPHONE: WESTERN 1804
CABLEGRAMS: DELOMOSNE. LONDON W 6

MEMBERS OF THE BRITISH ANTIQUE DEALERS ASSOCIATION

J&ene SUtcljtn Itb

IN ASSOCIATION WITH

DAVIS & SONS LTD for ANTIQUE FURNITURE

ESTABLISHED 1830

209 TOTTENHAM COURT ROAD
LONDON W.I

MUSEUM 2328

A lavender
Jade_figure
of Kwan Yin
Height 9^ in.

Jnor & Jtl)on»
(Caruings

©nc ntiil
(Hlovfcs of 3rt

A NECESSITY
TO ALL COLLECTORS OF
ANTIQUE SILVER

Bradbury s
GUIDE TO MARKS OH ORIGIN
ON BRITISH AND IRISH SILVER PLATE

from Mid i6th Century to the year i9hj
with notes on Gold Markings and Marks on
Foreign Imported Silver and Gold Plate
and Old Sheffield Plate Makers' Marks
( / lei enth I Jnion)
Compiled by FREDERICK BRADBURY, F.S.A.

Vest pocket size, containing the Assay Marks and Date Letters of the
London Assay Office from 1CC4 to '963 a"d the other British and
Irish Assay Offices.

This book may be obtained from the publishers
) \\ NORTHEND LIMITED, 49 WEST STREET, SHEFFIELD 1
or any bookseller

PRICE 8/6 IN PAPER COVERS, 20/- IN LIMP BLUE LEATHER,
GILT EDGES, POSTAGE 6d. EXTRA

The Connoisseur, June, 1965

XXXVI

WILLIAM WALTER (Antiques) LTD.

ANTIQUE SILVER Telephone: Chancery 3248/49 Telegrams: Walter Silvavults London, W.C.2

;<Set of 12 Antique Silver Meat Plates date 1765
by Parker & Wakelin.
Diameter 9| in. Weight: 187 oz. 10 dwt.

Antique Silver Coffee Pot date 1770
by Walter Brind. Weight: 22 oz. 8 dwt.

Antique Silver Inkstand date 1769
by William Plummer. Length 1 1 in.

Antique Silver Salver date 1731
by George Wickes.
Diameter 17J in. Weight: 71 oz. 10 dwt.

Antique Silver Tureen and Cover date 1 783
by Fogelberg & Gilbert. Height 11 in. Weight: 83 oz.

Antique Silver Sauce Boats date 1 748-50
by William Cripps. Weight: 32 oz. 15 dwt.

CHANCERY HOUSE

CHANCERY LANE

LONDON W.C.2

AND

LONDON SILVER VAULTS

A Walnut Bureau Bookcase with quite exceptional
quality of veneers perfectly matched throughout
and of a rich golden colour. In perfect condition.
Circa 1720.

Width 3 ft. 2 in.. Depth 2/£ in., Height 6 ft. I0{ in.

#lorta Sllnttta

Under the personal direction of
Wmg-Commander C-L de BEAUMONT, O.B.E., M.A. (Cantab.)

Antique Dealers' Fair

STAND No. 71

ANTIQUE FURNITURE
POTTERY and PORCELAIN

Specialist in unusual and historical pieces

170 BROMPTON ROAD
LONDON, S.W.3

Member of The British Antique Dealers' Association Ltd.
Tel. KENsington 0367

DUITS

LTD.

Finest examples
of

iyth century Dutch Masters

6 DUKE STREET

ST. JAMES'S, LONDON, S . W . i

telephone: Whitehall 7440

RESERVED FOR THE EXCLUSIVE USE
OF ART LOVERS AND COLLECTORS

THE GUIItE EMEU

EUROPE'S LEADING DIRECTORY
1965-1966

50,000 names and addresses of
Antique Dealers. Picture Galleries,
Art Experts. Flea Markets, Fairs, Exhibitions

Classified in
Countries, Towns, Cities, Streets
and Specialities

In two volumes Price 45/- Post paid

Available from :
G.& F. GILLINGHAM LTD.
4 CREDITON HILL, HAMPSTEAD
LONDON, N.W.6

Telephone: Hampstead 5644
EVERYBODY'S KEY TO THE TREASURE HOUSES OF EUROPE

The Connoisseur, June, 1965 XXXV11I ,

1

Important Pair
Queen Anne
Table Candlesticks

London 1712 by Alice Sheen on moulded
octagonal bases engraved with a coat-of-arms
in baroque cartouche and a crest and baluster
stems with moulded sockets.

7 in. high. Weight 25 oz. 15 dwt.

A& B. BLOOMSTEIN

LTD

Bond Street Silver Galleries

111/112 New Bond Street, London V/.l

Hyde Park 6180

MtMBIRS Of THE BKIIISH ANTIQUE DEALERS' ASSOCIATION LID.

Bond Street Silver Galleries

111/112 NEW BOND STREET, LONDON, W.I

«>,'-; •' xc??' "■" '

f ^tt >^

- -viSg:4T~ .vAwr-j^*-"-e5wi''' ■

Perez

112 & 168 BROMPTON ROAD,
LONDON S.W.3

Telephone - KENsington 4411 (4 lines)
Telegraphic Address 'CARPEREZET'

also PARK STREET, BRISTOL
and AMSTERDAM

Antique Kirman.
Size 16 ft. 8 in. x n ft. 3 in. Ref: S2288

The permanent Exhibition Rooms at 112 Brompton
Road feature a large selection of Antique and Old Ori-
ental Carpets and Rugs, Tapestries, Aubussons, Savon-
neries and Needleworks.

Wall to wall carpeting and Broadlooms in exclusive
plain colours are available at 16K Brompton Road.

Perez (Contracts) Ltd. will attend to enquiries from
the trade.

XXXIX

GREGORY & CO.

(BRUTONISTREET) LTD. ESTABLISHED 1823

Telephones: Mayfair 2608/9/0, 2066

27 BRUTON ST., BERKELEY SQUARE
LONDON, W.l

Telegrams: Gregco, Wesdo London

ANTIQUES
FURNITURE
UPHOLSTERY
CURTAINS
C A R P E T S
CHANDELIERS

DESIGNS & SCHEMES
BOARD ROOMS
DIRECTORS' SUITES
DECORA T I ONS
ELECTRICAL WORKS
H E A T I N C

VALUATIONS

A fine faded mahogany Chippendale architect's table with
original handle c. 1760
Width 39 in. Depth 25 in. Height 29 in.

A pair of Regency ormolu and bronze figure candlesticks c. 18 10
Height 14 in.

STAND 42. ANTIQUE DEALERS' FAIR, GROSVENOR HOUSE

MARTIN & Co. Ltd. of CHELTENHAM

GOLDSMITHS AND SILVERSMITHS SINCE 1806

P

George III Tankard
1779 John Schofield

George III Jug
1783 John Schofield

George III Sugar Basket
1798 John Schofield

Promenade

CHELTENHAM

Telephone 22821

The Connoisseur. June, 1965

XL

Pair of silver-gilt wine coolers
LONDON 1810

By Benjamin and James Smith, of Limekiln Lane, Greenw ii h.
504 oz. 1 j inches high

Thev are decorated with the Triumph of Ariadne; the shape and subject being
derived from the well known Borghese vase. An exact I v similar one is illustrated,
page 112 in E. Alfred Jones' book 'The Gold and Silver of Windsor Castle'.

H. S. WELLBY

1 6c Grafton Street, London W.i

Telephone: Hyde Park 1 5^97

Signed and inscribed SoctlsJesu

OiJ on copper 17J X 12:5 inches

1590 - DANIEL SEGHERS - 1661

JOHN MITCHELL & SON

8 NEW BOND STREET LONDON Wl

Cables: Jonmit, London

Telephone: HYDe park 7567

GRAFTON STREET LONDON W.l.

JIS XV ORMOLU CLOCK BY JACQUES PANIER,
US, THE PORCELAIN FIGURES BY KAENDLER

I ft. 10 in. Width I ft. 2 in. Depth 8 in.

Stand 37 at the Antique Dealers' Fair

PARK 04 4 4 BLAIRTIQUE, LONDON W.l

Member of the British Antique Dealers' Association Ltd.

%^imn!lT m ""ins

Jacques Perrin

1 8th Century Furniture
Objets d'Art

3, Quai Voltaire, 7e*
Tel: BAB 41.33

GALERIE REGENCY

ANTIQUES

FRENCH AND ENGLISH FURNITURE
XVIII and XIX CENTURIES

63, rue du BAC
Tel: 548.33.10

Pierre de Regaini

XVIII CENTURY PORCELAIN
FAIENCES - OBJETS de VERTU

6, Rue de Beaune Tel: LIT 42.67

LAGRAND

ESTABLISHED 1890

ANTIQUES

Renaissance Louis XIII Louis XIV

232, Bd. St. Germain

Tel: 548.23.49

JLtti Bouues!

jflebiaetjal anb Renaissance

73, rue des Saints-Peres
Tel: s 48. 5 j. 01

NEGER

Old Master Paintings

139, Bd. Haussmann

Tel: ELY 10.48

These antique dealers, galleries and
decorators will be delighted to offer
suggestions and advise you from the
wealth of their experience in the choice
of furniture, objets d'art and pictures
which will harmonise with your home.

num m

XVIII CENTURY- ANTIQUS
FURNITURE- OBJETS Dvjl
27, QUAI VOLTAIRE

Telephone: LIT. 54.57

BRESSET

HAUTE - EPOQUE

5, QUAI VOLTAIRE 7«-
197, BOULEVARD SAINT GERMAIj 7'

MARCEL ROSENA

Cie. des Arts Anciens, Succr.

ANTIQUES

1 8th Century Ceramics
23, rue du Bac 7C-

Tel: BAB 21.83

LITYBUR

ANTIQUES

Louis XIII and beginning of Louis XIV pesos

171, BD. SAINT GERMAIN
Tel: LIT 92.87

Schutz-Pousse

ANTIQUE DEALER
Renaissance Louis XIII

183, Bd. Saint Germain
Tel: BAB 12.49

GENEVIEVE AYMOM
Old Master Dn

13, RUE DES SAINTS-PERES

Tel: BAB.z6.6i

EXHIBITION
OF IMPORTANT

TAPESTRIES

1480-1780

from

TOURNAI

SPAIN

GOBELIN

MORTLAKE

BRUSSELS

GERMANY

ANGERS

BEAUVAIS

ITALY

ANTWERP

SOHO

AUBUSSON

LAMBETH

ENGHIEN

SCANDINAVIA

Etc.

JUNE 9th -23rd 1965

Daily 11 a.m. -7 p.m. excluding Sundays
Catalogues with over 50 illustrations 10/- each
in aid of The Winston Churchill Memorial Fund

V. and C. STERNBERG

Members of The British Antique Dealers' Association Ltd

37 SOUTH AUDLEY STREET, LONDON W.I

Telephone: HYDe Park 1 228

Cables: Yaky, London W.I

S. MARCH ANT & SON

CHINESE & JAPANESE WORKS OF ART

A Compagnie des Indes porcelain Snuff Box painted in famille rose enamels, the cover with river scene and European
figures in a garden. The sides painted with figures in a landscape. Ch'ien Lung. Circa 1736-1795.

Diameter J?f in. Metal mounts
Formerly in the Martin Hurst Collection

120 KENSINGTON CHURCH STREET LONDON W.8 Tel : BAYswater 531 9 Cables marchanson london ws

European
Works of Art

BULL

Bronze
Height 6i inches
Length 14 inches
Flemish
Circa 1650

DAVID PEEL

& CO. LTD.

2 CARLOS PLACE, MOUNT STREET, W.l HYDe Park 3161

The Connoisseur, June, 1965

XLVI

A MAGNIFICENT FRENCH GOBELINS TAPESTRY CARPET, made for King Louis-Philippe of France (1830-
1848). Brick-red ground with Italianate Renaissance design in vivid pinks, blues, greens, gold, ivory, red, etc

Size: 12 ft. 6 in. x 10 ft. (3 75 m x 3 0 m) Superb condition
Originally at Palais de Chateau d'Eau, the carpet was removed to Claremont, Esher, where Louis-Philippe

was exiled

MAYORCAS Ltd

Member of the BADA Ltd

38 Jermyn St. St. James's London S.W.I MAYfair 4195

STAND 87 AT THE GROSVENOR HOUSE ANTIQUE DEALERS' FAIR

FINE TAPESTRIES, SAVONNERIE and
AU8USSON CARPETS. NEEDLEWORK and
BROCADES. ENGLISH and FRENCH
FURNITURE

(Member of The British Antique Dealers' Association Ltd.)

70 SOUTH AUDLEY STREET,
LONDON, W.I

Telephone: HYDe Park 5288

(and at 36 HIGH STREET. OXFORD
Telephone: Oxford 44197)

A French needlework carpet with central floral panel on a waved blue ground, bordered by foliage sprays with medallions of strapwork

Size: 14 ft. ■ 7 ft. 9 in.

« « .
» «

A brilliant example of the
perfect artistry of the world's
leading glass craftsmen.

BOHEMIAN GLASSWARE
ONLY FROM
CZECHOSLOVAKIA

An infinite variety of exclusive designs
and styles for all decorativeand functional
purposes is to be found in the leading
galleries and stores throughout the
country.

' ■ ■

The Connoisseur, June, 1965

Oil Painting Shipping on the Thames with Limehouse Church in the background By ROBERT DODD (1748-1816)

ON VIEW AT GROSVENOR HOUSE, THE ANTIQUE DEALERS' FAIR

June 9th to June 24th, 1965
STAND NO. 43 GROUND FLOOR Telephone: Grosvenor 6363 Extn. 1043

Oil Painting A Hawking Pony Landscape by JOHN WOOTTON, figures by GEORGE LAMBERT

OSCAR AND PETER JOHNSON LIMITED

LOWNDES LODGE GALLERY
CADOGAN PLACE, LONDON, S.W.i

Telephone: BELgravia 6464-5 Cables: ARTCOS, LONDON, S.W.I

IMPORTANT

AUCTION SALES

22-26 JUNE 1965

DIFFERENT COLLECTIONS AND ESTATES:
FURNITURE AND PAINTINGS FROM VILLA ORMOND IN

CLARENS. formerly owned by Madame Paulina Piper Pie,
friend of Napoleon III.

ESTATE OF MR. FRANZ VON SEGESSER, LUCERNE.
ESTATE of Mrs. M. DREYFUS-MARX, BASLE.
COLLECTION of STAINED GLASSES AND PEWTER,
formerly owned by the family SCHUSTER-BURCKH ARDT,
BASLE.

MASTER WITH A PARROT, early 16th Century, oil on wood
71 « 52 5 cm.

COLLECTION OF DRAWINGS: DE MARIGNANE

I Furniture, silver, collection of Vienna-porcelain,
sculptures, miniatures, East-Asian art, carpets,
antiquities.

Collection of Swiss stained glasses lllrd part from
Nostell-Castle, Yorkshire.

Fine paintings by old and modern masters of the
French, Italian, German, Dutch and Swiss Schools
from 15 20th century.
Greek and Russian icons.
II Collection of arms and armour: swords,

hunting-weapons, pairs of pistols, fine guns from
an Austrian aristocratic family and other collections.
Ill Old master-drawings, water-colours, old and
modern graphic art. Collection of books.

ON VIEW: daily from 3-20 June 1965, except June 6, 7 and 17

III IHSi ilil

Haldenstrasse 19

Switzerland

Tel. 2 57 72

ooooooooooooooooooooooooooo
An important book

THE CARE OF

Antiques

JOHN FITZMAURICE MILLS

An authoritative and comprehensive handbook.
'Well-illustrated, sensible and practical'
— Country Life.

Foreword by Dr. A. E. Werner.
Preface by Norman Brommelle.
With 69 plates and diagrams.

25s. from all booksellers or 27s. post free from the publishers

ARLINGTON BOOKS

15 Duke Street, St. James's, London S.W.I.

ooooooooooooooooooooooooooo

NITA MILLER

FOR PERIOD LAMPS

63a Grosvenor Street, W.l . Mayfair 0951

LAMPSHADES CLEANED
OR RECOVERED IN A DAY

ONLY BY NITA MILLER

Made specially for
Antiques by Goddards

These unique polishes are made from a formula handed down
through generations and known only to Goddards. They have
remarkable cleansing qualities; give a rich patina rather than
high gloss. Both polishes maintain the condition of the finest
woods. Available at leading stores.

J. Goddard & Sons, Ltd. iH

3y appointment to Her Majesty Queen Elizabeth II, Mlrs. of Silver Polishes. J. Goddard & Sons. Ltd.
NELSON ST. LEICESTER • U S. Enquines:-229 Madison Ave. N.Y. 10017 N Y

The Connoisseur, June, 1965

L

Nicolas de LARGILLIERE (1656-1746). Portrait of August III, King of Poland

Canvas 53^ ins. by 40^ ins.

Formerly in the collections of Princess von Hohenlohe, Paris and Baron d'Huart. Paris

OLD MASTERS

109, Fg. St. HONORE

HEIM

PARIS

Tel: BALZAC 22.38

SHOWCASE

HICKLENTON & PHILLIPS

90 CHEAPSIDE

LONDON E.C.2 Near The Mansion House

Specialists
In

Antique
Clocks

CHARLES FRODSHAM & Co.

173 BROMPTON ROAD Ltd.
LONDON S.W.3 Kensington 1073

Ormolu Coach with bisque horses end
figures. Sevres mark. Circa 1790.
Signed BRUCHON.

INGRAM WARWICK Ltd

Antique Lovers Coterie for Jewels & Objcts d" Art

6 SOUTH MOLTON STREET
LONDON W.i Mayfair 4388

An important Continental Refectory Table
in yew. 1 7th Century. Length : fft. 2 in.
Width 2ft. 4 in.

DAVID TRON

275 KINGS ROAD
LONDON S.W.3

One of a set of four oval bowls. Chinese,
Ch'icn Lung period, 12\ in. wide.

CANTERBURYS

17 KING STREET, ST. JAMES'S
LONDON S.W.I Whitehall 0287

We have a large stock of interesting and
unusual scientifu instruments

GRAHAM PONTET Ltd.

Interior Designers

9a NEW CAVENDISH STREET
LONDON W.i Wclbeck 1097-ZI90

34 BROOK STREET

LONDON W.i Mayfair 5262

Flaxman 5918

George I cup made in London in 1723 by Isaac
Comasscatt of Acorn, Drury Lane. In tine con-
dition with mint marks it stands t>{ inches high.

J. H. BOURDON-SMITH Ltd.

25a CONDUIT STREET

LONDON W.I Mayfair 0434

Porcelain
clock by
Henry
Marc, Paris,
c. 1800.
Height
10 in.,
separate base
j in. high

£55

We

specialize in
decorative
period
clocks and
barometers

HUGGINS & HORSEY Ltd.

26 BEAUCHAMP PLACE

LONDON S.W.3 Knighesbridgc 1685

H. R. JESSOP Ltd.

3 MOTCOMB STREET
BELGRAVE SQUARE

LONDON S.W.

BELgravia 2978

English 1 8th Century candlesticks. Derby-
shire spar and aventurine. Mounted in gilt
metal. Height 8 in.

PETER FRANCIS

Member of the British Antique Dealers' Ass'n Ltd.

37 BEAUCHAMP PLACE

LONDON S.W.3 Kensington 4243

•«7 •

WE ALWAYS HAVE AN ATTRAC-
TIVE COLLECTION OF OLD
TAPESTRY AND NEEDLEWORK
CUSHIONS.

E. B. SOUHAMI

6c PRINCES ARCADE,
LONDON S.W.I

Regent 7196

Pair of Meissen groups each of 6 figures
around a tree. Circa 1840. Height 16 inches

GAY ANTIQUES

Fine Porcelain and Silver

I BEAUCHAMP PLACE

LONDON S.W.3

Knightsbridge 9615

Directoire bureau d cylindre. Length 54 in.
Width 27 in. Height 4S in.

C. P. BURGE

162 SLOANE STREET

LONDON, S.W.i Sloanej:c

and at Kingston and Thames Ditton, Si\.j

An interesting
and unusual
18th Century
carved wood
grotto chair

DAVID CLEGG Ltd.

53 HIGH STREET SOUTH
DUNSTABLE

BEDFORDSHIRE Dunstable 51

.-1 Louis XVI si
white marble ai
ormolu turret c&
contained in a k
sphere supportM
three Graces. 1
(Circa 1820). '
jo in. x 1 ij itm
1 1 i in.

Illustrated clo
catalogue prii

Philip & Bernard DOME'

174 KENSINGTON CHURCH S1EI
LONDON, W.8 BAYswatf7I<

A painted satinwood sidetabie Circa 17s

HEATH-BULLOCK

24 MOTCOMB STREET

LONDON S.W.I

Belgrai -

8 MEADROW, GODALMING
SURREY Godalm

[.WOODS-WILSON ANTIQUES

103 PIMLICO ROAD, LONDON S.W.I SLOANE 2558

18th Century painted and gilt Venetian cupboard
8 ft. high. 7 ft. 8 in. wide. 2 ft. 3 in. deep

mi

A. ARDITTI

Member of The B.A.D.A. Ltd.
Stand 38, Grosvenor House Antique Dealers' Fair

PORTUGUESE EMBROIDERY

c. 1690

Set of ten panels each 12 ft. X i ft. 10 in.
Bright colours on cream ground (detail illustrated)

Tapestries, Textiles
and Needlework

12B BERKELEY STREET LONDON, W.i

MAYfair 0885

LOWE & SONS

Established 1770 Member of The British Antique Dealers Association

1 1 BRIDGE STREET ROW„
CHESTER 25850

CREAM JUG London 1729

Maker: Joseph Smith

Weight: 4i oz. Height to lip: 3| in.

A rare classical Roman gold necklace
with pendant of two heads.

ALL THIS MONTH - SPECIAL SHOW
OF BETROTHAL JEWELLERY

CAMEO CORNER

26 MUSEUM STREET, LONDON, W.C.I

M USeu m 040 I Weekdays 9 a.m.-5 p.m.

Thursday until 6.30 p.m. Saturday closed all day

The Connoisseur, June, 1965

LIV

m 1

M

N
E
W
M
A
N

'On (he River'

by JAMES JACQUES JOSEPH TISSOT, 1871 (signed and dated)
Canvas size: 34 x 20 inches (87 x 51 cm.)
Framed size: 40 x 26 inches (102 x 66 cm.)
Exhibited: Graves Art Gallery, Sheffield, 1955, No. 10

LTD

43a Duke Street, St. James's
and 1/3 Rvder Street
London, S.W.i

Telephone: WHItehall 6068 j 9
Cable Address NEWP1C, PICCT, LONDON

Established 1870
Members of the British Antique Dealers' Association Ltd.

OMELL
GALLERIES

CONSTANTIN MAKOVSKI

Signed. On panel J.4 x '9i in;

6 ^ (61 x 50 cm.)

igth Century and Contemporary
British and Continental
Paintings

22 BURY STREET
ST. JAMES'S
LONDON S.W.I

Trafalgar 4274

Antique Silver

HARRY

Sheffield Plate

CHERNACK

1 Antique Jewellery

of Edinburgh

85 ROSE STREET • PHONE CAL 3038 !

Member of The British Antique Dealers Association

Restoration

and conservation of the antique

Bronzes Ceramics Enamels Ivories
Jades Marbles Tortoiseshell
Snuffs Mother-of-Pearl Buhl
Ormolu Objets d'Art Furniture etc.

G. Garbe

restorers to the leading museums

23 Charlotte Street W.1

Founded 1770 Tel : MUSeum 1 268

Margery Dean gntique*

The Galleries, Wivenhoe, Colchester, Essex
Wivenhoe 523 Cables Anticadena

Showing at stand 22, The Antique
Dealers' Fair, a selection oj both the
earthy and the sophisticated in furn-
iture, clocks and decorative items.

MONS & CIE

TABLEAUX ANCIENS

LITtre 26-84 19 Rue du Cherche-Midi, Paris VIe

The Connoisseur, June, 1965

LVI

8Y APPOINTMENT
DEALERS IN ANTIQUE FURNITURE AND WORKS OF ART
TO THE LATE QUEEN MARY

M. Harris & Sons

ESTABLISHED 1868

Part of a very fine set of Chippendale carved mahogany chairs,
comprising ten single and two elbow chairs

44/52 New Oxford Street, London W.C.i

Telephone: Museum 2121

Telegrams: Artisonne London WC1

arrett & g>m\ £tti

9 OLD BOND STREET, LONDON W.i

(Nine doors from Piccadilly)

Hyde Park 1996

Oriental Ivory and Hardstone Carving

Connoisseurs and craftsmen in ivory carvings, jades
semi - precious hardstone carvings from the Orient
Established over a century as brushmakers in Ivory
and Tortoiseshell — single brushes or complete
dressing table sets

Also a large collection of Snuff Bottles and Netsuke

Jurojin

God of long life

Solid ivory carving Polychromed
Height 15 in. without base

Rupert Preston Ltd.

14 DUKE STREET (1 st Floor). St. James's. London S.W.I . WHItehall 1794
(Entrance, Mason's Yard)

EXHIBITION OF 17th CENTURY
SEASCAPES OF THE NETHERLANDS

June 1st - 30th
at

HAL O'NIANS GALLERY

6 RYDER STREET, LONDON S.W.i

RALPH COX

(Member of B.A D A )

OLD GREETHAM INN

STRETTON RUTLAND

Castle Bytham 340

English Walnut 17th Century
Child's high chair in unrestored state.
£120.

Also at :

39 Steep Hill, Lincoln Tel : 22463

€M,& II

BROKERS- TRAVtt *u*^jg

■Established i8ij

Head office :

39/45 FINSBURY SQUARE, LONDON, E.C.2
also at:

LIVERPOOL-MANCHESTER-SOUTHAMPTON
BELFAST - PARIS - NEWCASTLE - GLASGOW
TORONTO - NEW YORK - MONTREAL - LEEDS
LEICESTER

CONNECTING WITH A NETWORK OF RELIABLE AGENTS OVERSEAS

Tlu- Connoisseur. June. 1965

LVI11

GOBELIN TAPESTRY by MICHEL AUDRAN, after ETIENNE JEAURAT Circa 1775

LE RETOUR DU MARCHE

A sunlit clearing centring a tall leaning tree, with figures of peasants in henna, pea green, yellow, lavender and blue costumes, four
figures turning to watch a young girl and a maiden carrying a bundle of grain entering at right through a rustic doorway; the fore-
ground occupied by an overturned cask, a huge pumpkin, a panier of vegetables and a shaggy brown and white dog stepping out of
his shelter to receive the caress of his master. Signature of Audran, chef d'atelier, at lower right. 9 feet 7 inches x 7 feet 1 inch.
Note : The present hanging is one of a series called Les Fetes de Village, executed after the designs of Etienne Jeaurat, of which the
initial tapestries were executed about 1750-53; the present subject is rare and is not recorded by Fenaille, whose documentation of
the series is incomplete.

Collection of the Comte de Lirot, Paris

Importers of Oriental and
European rugs, tapestries
and textiles

MAYORKAS BROS.

On Madison Avenue since 1907

843 MADISON AVENUE (at 70th St.)

NEW YORK 21 N.Y.

One of the largest selections
of semi-antique and period
rugs in the country; also, all
kinds of period tapestries

TEL. BU 8-8481/8482

BROADWAY ART GALLERY

A LOAN EXHIBITION
of the Spanish Impressionist

JOAQUIN SOROLLA

1863-1923

Including works lent from Spain, France, Italy, Britain and USA

Boy with a Melon Collection Edmund Peel

BROADWAY

Open Weekends

10 JULY -2 AUGUST
at

WORCESTERSHIRE

ENGLAND

Entrance Free

Illustrated catalogues five shillings

The Connoisseur, June, 1965

LX

The
world's

most
famous
crystal

30 BIS, RUE DE PARADIS - PARIS 10'

Agents for Great Britain

MINTONS LTD

STOKE-ON-TRENT

SPECIALISTS IN FINE ANTIQUE PORCELAINS, FAIENCE & MAIOLICA

Telephones:

KENsington
527: & 3793

Cables:

PORCELIQUE
LONDON. S.W.3

156

BROMPTON ROAD
LONDON
S.W.3

ANTIQUE DEALERS' FAIR, GROSVENOR HOUSE, STAND 44

MEISSEN, c. 1740-1745. A very fine Pair of Quail Tureens modelled by J. J. Kaendler and decorated in natural colours 5 ins. wide

WILDENSTEIN

ROMANCE AND POETRY
IN INDIAN PAINTING

A Loan Exhibition of Indian Miniatures from the
collection of Mildred and W. G. Archer

(In aid of the Artists' General Benevolent Institution)
26th May to 19th June

147 NEW BOND STREET, LONDON, W. i

Mayfair 0602

The Connoisseur, June, 106s

LXII

[embers of The British J g g ^ ESTABLISHED 1866

ntique Dealers' Association Ltd. ^ % Y % Y ^» Open all day Oil Saturdays

Extremely fine Hepplewhite commode in figured and faded plum pudding mahogany,
crossbanded in rosewood, with original handles, circa 1780.

Height 2 ft. of in. Width 3 ft. 7^ in. Depth 1 ft. o£ in.
Stand No. 14 Antique Dealers' Fair June 10 -24th.

, 28, 30 & 32 HIGH STREET, MAIDENHEAD, BERKSHIRE TeL 26363/4, 22923

LXIll

BV APPOINTMENT ANTIQUARIES OF C„INESE WORKS Or ART
TO H.M. THE KING OF SWEDEN

BLUETT & SONS

Oriental Horks of girt

In 1644 the Ming dynasty rulers of China were fmalh
defeated by the Manchus who were to rule China as an
alien dynasty until the early years of the present century
It was, however, not until some forty years later that the
.mpe„al kilns were re-organised at Ching-te Chen under
'he leadership of the first of the three great directors.

Chinese civilization has a genius for influencing those with
whom n comes into contact; and it is characteristic that the
enthusiasm of these Manchu rulers for Chinese culture
should have matched that of their Sung and Ming
predecessors Amongst the most important productions of

he bins of the early part of the Ch'ing dynasty are „

found reveals of early wares; and in the letters of Pere
d EntrecolleS) a Jesutt missionary writing to the West early
m the 18th century concerning the manufacture of
porcelain at Ching-te Chen, we learn that vases were sent
down from the palace at Peking to be copied. Crackled
greyish glazed wares simulating Kuan yao of the Sung
period were carefully studied and reproduced ; and the
totally unrelated tou-tsai enamels of the Cb'eng-hua
period were so successfully imitated as still to be a cause of
contusion to present day scholars.

But, as is usual in the study of the art of any period, the
objects that attract most attention are those which are
original to that period; and undoubtedly to this class
belong the fine porcelains decorated in the "Chinese taste".
These pieces, enamelled with exquisite skill upon a
material whose technical refinement belongs to the highest
achievements of Chinese ceramic art, have as their chfe,
characteristic a strongly drawn, firm decoration of flower,
usually asymetrically applied and avoiding formal borders
and any design leading to dull repetition, thereby
emphasizing the purity of the lovely white porcelain.

In the examples illustrated this style of decoration has
been combined with another technique of utmost
refinement and rarity, for the exterior is lightly enamelled
with a pale yellow of great delicacy

Pair of old Chinese porcelain saucer dishes finely decorated
in the Chinese taste' withfamiUe rose enamels, the
undersides with lemon yellow glaze.
Diameter 5| in.

Mark and period Tung Cheng. A.D. 1723-1736

Member, of Tne British A„,iqlle Deals' Association L,d.

48 Davies Street, Brook Street, London, W.,

Exhibiting at the Grosvenor House
Antique Dealers' Fair. Stand 79

Cables: "Chineceram, London-W.T

Telephone: MAYFAIR 4018

The Connoisseur Register Advertisements

GALLERIES

Dunning's Antiques. Member B.A.D.A. Suggest Trade, Collectors and
Museums write giving their detailed specialist requirements. Quotations
with photographs from 12,000 articles in stock sent by return, or
information when articles become available. 58 Holywell Hill, St. Albans

51065.

Haddonfield, New Jersey: Sanski Gallery, 50 Tanner Village. Fine
early American and European paintings, drawings and sculpture bought,

sold, restored.

WANTED

Garrard The Crown Jewellers offer the highest prices for valuable items
of silver and jewellery. Experienced and totally reliable valuations at your
request to 1 1 2 Regent Street, London, W.1 . Regent 7020.

Byzantine or Russian Icons, coins, medals and ancient artifax
required by collector. Please send details to Jay MacHugh, F.R.N.S.,
1 51 5 West 8th Street, Little Rock, Arkansas, U.S.A.

Wanted by Private Collector OLD AMERICAN FLAGS (prior to 1870).
Write B. Mastai, 21 East 57th Street, New York 22, N.Y., U.S.A.

Wanted: Russian Enamel Pieces. Write A. E. Turcone, 298 Broadway,
Providence, R.I., U.S.A.

Wanted: Gold jewelry, art nouveau period, also Russian jewelry.
Satellite's, 1721 Pine Street, Philadelphia 3, Pa., U.S.A.

Wanted : Old Correspondence, 1 8th and early 1 9th century, especially
letters from overseas with postal markings of the pre-stamp era, or with
stamps. Col. A. Murray, Greenhill, Rownhams, Southampton.

Autographs, Manuscripts and Documents of Famous Artists,

Writers and Musicians. Highest cash offers made. A. W. Morse, 118 East
60th Street, New York, 22, New York.

Wanted : Old, non-humorous legal prints, etchings, engravings of trials,
judges, court scenes, anything relating to judiciary or politics. Wanted
also bronzes of Russian cossacks. Write Hyder, 1 609 Oil & Gas Building,
Forth Worth, Texas, U.S.A.

FOR SALE

Old Prints, unrivalled selection on all subjects, also ORIGINAL
DRAWINGS, RARE BOOKS and AUTOGRAPH MANUSCRIPTS.
Callers by appointment only, telephone Ambassador 5439. Walter T.
Spencer, specialists since 1 856, 47 Upper Berkeley Street, London, W.1 .

Just Published 1 965-66 'Antiques in Britain' - the new yearbook and
magazine combined edited by Tony Keniston. 300 pages. Independent
guide to British Antique Dealers plus many authoritative articles and
illustrations. £1 or S3 from Tony Keniston, 5 The Cedars, Wendover,
Bucks.

Antique Maps - Send for illustrated catalogue stating part of interest.
P. J. Radford (C), Denmead, Portsmouth, Hants.

Fine Mahogany American Empire Drum Top Table embossed
green hide. Diameter 45 ", Height 29 ". 1 75 gns. Box No : 731 7.

Oil Paintings 18th and 19th century for sale, low and medium prices
Write The Manager, 1 1 Sloane Gardens, London, S.W.1 . Tel : Slo 5766.

Large Oil Painting, 'Ecce Homo', believed 'Correggio'. Rare Bartolozzi
engraving, coloured Hamilton, RA. Box No : 731 8.

Private Collectors will find the 1965-66 edition of Antiques in
Britain' invaluable. 300 pages, 20s. Od. from 5 The Cedars, Wendover,
Bucks.

Fine Copy of Raphael's 'Madonna Delia Sedia' by Capella, in
replica frame. Can be seen at Yaldhurst Farm, Pennington, Lymington
(2534), Hants. By appointment.

Yeend King Etchings - framed, signed, first copies with symbol.
Jones, 29 Kings Road, Dereham, Norfolk.

Roman Coins, Denarii, early centuries, Christian era for sale. Best
price accepted. Box No: 7319.

MISCELLANEOUS

School of Design & Decoration. The next ten-week concentrated
courses start on 1 st October.

The Lecture Course, supervised by Mrs. Michael Inchbald, covers all
aspects of period and modern Interior Design with lectures by experts on
the history and appreciation of art, architecture, furniture, silver and china :
practical sessions and visits to historic houses and designers'studios.
The Drawing Course gives practical training in drawing and designing
interior schemes, working at the drawing board under the supervision of
practising interior designers. Details and application forms from Inch-
bald School of Design, 10 Milner Street, London, S.W.3. Knights-
bridge 4456.

Jolly's Auction Rooms, Old King Street, Bath, Somerset. New purpose
built rooms- 5,500 sq. ft. Frequent Pullman service from London. Regular
fortnightly sales. Antique Furniture; Silver and Plate; Pictures; Books;
Porcelains, etc. Telephone Bath 3201 (4 lines).

Hard-To-Fine Books located thru world-wide contacts. Agents in
principal cities all over the globe. Book Landling, 6631 Hollywood Blvd.,
Hollywood, Calif. 90028.

Brodie & Kent (Chilham) Ltd. Antique furniture, paintings and
silver. The Square, Chilham, Nr. Canterbury, Kent. Telephone: Chilham
250.

Cleaning and Restoration of Pictures. Oil paintings cleaned
expertly and brought back to their former freshness and beauty. Moderate
prices. Jean Rousse, 95 Hadley Highstone, Barnet.

Register advertisements are 1/6 per word, minimum El for 15 words,
which must be prepaid and sent to the Advertisement Manager, THE
CONNOISSEUR, CHESTERGATE HOUSE, VAUXHALL BRIDGE
ROAD, LONDON, S.W.1 (Victoria 2331). Addresses or Box Numbers
must be inserted, and replies to the latter should be clearly marked with
the Box Number. The Proprietors of The Connoisseur accept no
responsibility for any sales effected.

POMTOMOLI

LTD.

1 1 SPRING STREET,
PADDINGTON, LONDON, W.2

Tel: Pad. 6664

CARPETS, RUGS
and FITTED CARPETS

EXPERT CARPET and TAPESTR Y
RESTORERS and CLEANERS

Detail of a very fine Aubusson
Carpet, size 24 ft. 8 in. x 14 ft. 3 in.
Central floral medallion on a cream
ground surrounded by scrolls on a
red ground; natural flowers on a
chocolate main ground and an
off-white border.

SPECIAL ATTENTION GIVEN
TO ALL TRADE ORDERS

We are interested in buying genuine
old rugs and carpets of merit.

J. KUGEL

7, RUE DE LA PAIX, PARIS

SILVER - OLD WATCHES

Tel: OPE 61.04

SILVER AND GOLD BOXES

RARE OB JETS DE VERTU

A few samples of a very important collection of 18th century gold mounted hardstone boxes at present in our collection.

Ag. FRANCO-EUROPEENNE

1 7th & 1 8th CENTURY FURNITURE
AND WORKS OF ART

HOPKINS

Completely original pair of Regency Candelabra circa
1815 and a fine Queen Anne table typical of our stock.

HIGH STREET, CUCKFIELD
SUSSEX

Open all day Wednesday
TELEPHONE Haywards Heath 4494

I. FREEMAN & SON

LIMITED

LONDON

CITY SHOWROOM

NEW YORK

NEW YORK SHOWROOM

18 Leather Lane, E.C.I 12 East 52nd Street
Holborn 4633 Plaza 9-6900

Paul Storr

Unusual pair of George III Wine Coolers by Paul Storr
Dated London 1794
100 oz. with plated liners

Formerly the property of The Most Hon. The Marquess of Camden, D.L., J.P.

The Connoisseur. June 1965

LXX

A very fine early Georgian Chandelier in cast brass with gadrooning decorating the turned stem and eight scrolled
branches in a single tier. Height 3 ft. Diameter 3 ft. 4 in. Circa 1740

Old English furniture

„ Kensington 8501 and 5704

$ratt Sc Purged

LIMITED

Members of The British Antique Dealers' Association

k\ MELTON COURT

7 OLD BROMPTON ROAD JA>
LONDON, S.W.7

Chimneypieces

PRIDES of LONDON LTD

Members of The British Antique Dealers' Association Ltd.

179/180 SLOANE STREET, S.W.I

Tel: BELgravia 3080

PRIDES ./ LONDON LTD

Members of The British Antique Dealers' Association Ltd.

A pair of Empire
4-branch candelabra
with bronze winged
figures and ormolu
branches and bases

A pair of Regency encoignures
of rosewood with giltwood
decoration, marble tops and
shelves with a brass gallery

An elegant Regency sofa table of very
faded rosewood with brass inlay

A Regency games-work table in rosewood with
brass inlay, fitted for backgammon, chess, silks
and reels and with reading flap, the needlework
bag in rose silk

A very fine Regency set of 12 and 2 chairs with brass inlay and mounts, the seats in gold jaspe velvet

179/180 SLOANE STREET, S.W.I

Tel : BELgravia 3080

MEDIEVAL and RENAISSANCE
WORKS of ART and FURNITURE

BRESSET

5, QUAI VOLTAIRE
197, Bd. SAINT-GERMAIN

PARIS

TEL: LIT. 89.35

John Keil Limited

154 Brampton Road, London SW3 Kensington 6454: Cables; Keilantiq

Member of the British Antique Dealers' Association Ltd.

EXHIBITING AT GROSVENOR HOUSE ANTIQUE DEALERS' FAIR. STAND No. 26

A very fine Queen Anne gilt gesso mirror of unusual size
in excellent original state. Circa 1710

Height 5 ft. 1\ in. Width 2 ft. 10 in.

A George I walnut chest of small size with brushing slide and original
handles. Well figured veneered front and quartered top with herringbone
inlay retaining its original colour and surface. 1730

Height 2 ft. 6^ in. Width 2 ft. 9 in. Depth 1 ft. 7 in.

AND AT 51 PARK STREET, BRISTOL (Tel. 28016) AND 7, 8 AND 9 QUIET STREET, BATH (Tel. 63176)

E. FAIRCLOUGH

(B. FAIRCLOUGH (ARMS) LTD.)

EUROPEAN AND ORIENTAL ARMS
AND ARMOUR SPECIALISTS

26 Conduit Street, London W.l

Telephone: Hyde Park 3946

A MAGNIFICENT LARGE NAPOLEONIC
WOODEN SHIP MODEL

128 guns. 36 ins. long (9U cm.)
Mounted in its original Georgian mahogany case
with bow glass and ormolu pair feet.
The model is mounted in dry dock - magnificent
figurehead and superb detail throughout,
all original rigging.

a a „h fnor II' in hieh English Circa 1720. Surrounded by a selection of English Baluster
A large engraved Goblet with a multi knop stem and domed foot. II, in. high tng j sn. c

B 6 stem wine glasses of the early 18th Century

II ELYSTAN STREET

CHELSEA, S.W.3 Ken. 6074

The Connoisseur, June, I9°5

- - » ■ ■ Specialist in

Gi ■■ BURNE OLD ENGLISH AND IRISH GLASS

(Antique Glass) Ltd.

(Member of Trie British Antique Dealers' Association Ltd.)

LXXVI

J

lie) 1*1 foS (olkfeMggk

CATAN

129, Av. des Champs-Elysees

PARIS

SPECIALIST IN
EUROPEAN
PERIOD CARPETS

AUBUSSON
SAVONNER1E
NEEDLEPOINT

Peruvian carpet of the colonial
period decorated with the coat of
arms and device 'PIZARO DEO
HONOR GLORIA' of Pizaro, con-
queror of Peru and founder of Lima
150 x 260 cm.

PHONE BAL 41-71

AUCTION SALE AT PARIS

Compagnie des Commissaires-Priseurs

Me. Maurice RHEIMS and Me. Philippe RHEIMS

Commissaires-Priseurs, 7 rue Drouot, Paris
Telephone: 824.43.17 and 770.39.34

PALAIS GALLIERA

10 Avenue Pierre ler de Serbie
TUESDAY 15th JUNE 1965 at 21.15 hours

Collection of Monsieur C . .
VERY IMPORTANT MODERN PAINTINGS

Outstanding works by
BRAQUE, BUFFET, CHAGALL, DERAIN, Van DONGEN, Raoul DUFY, LEGER,
LORJOU, METZINGER, MIRO, MODIGLIANI, PICASSO, RENOIR, ROUAULT,
UTRILLO, VLAMINCK

TUESDAY 15th JUNE 1965 at 14.30 hours

from other sources
Works by CHAGALL, COROT, DESNOS, DOMERGUE, FRIESZ. GAUGUIN, LEGER,
LHOTE, MARCHAND, PECRUS, ROUAULT, UTRILLO, VILLON, VLAMINCK.

Experts: M. Dubourg, M. Durand-Ruel and M. Ebstein
On View Monday 14th June

W

Raoul DUFY: "L'Atelier*

AUCTION SALES IN PARIS

PALAIS GALLIERA,

Friday, June 11th at 2.30 p.m.

18th CENTURY OBJECTS of ART
and FINE FURNITURE

Porcelain, Faiences, Bronzes, Clocks, Old Silverware

Escritoire in lacquer and biscuit porcelain

FURNITURE
Bearing the stamp of Master Cabinet Makers

OLD TAPESTRIES

Me. Etienne ADER
12 rue Favart
Tel: 742.68.23

Auctioneers:

Me. Philippe COUTURIER
56 rue de la Victoire
Tel: 874.20.96

Expert: M. B. Dillee

10 Avenue Pierre ler de Serbie

Thursday, June 17th at 9.30 p.m. and
Friday, June 18th at 2.30 p.m.

18th CENTURY OBJECTS of ART
and FINE FURNITURE
Faiences, Old Porcelain, Bronzes, Sculptures

FURNITURE
Most pieces signed

OLD TAPESTRIES

OLD MASTER PAINTINGS
By or attributed to: BOSSCHAERT the Elder,
FRANCKEN, JORDAENS, TENIERS, etc.

MODERN PICTURES
BOUDIN, BOUSSINGAULT, BRIANCHON, DUFY,
FRIESZ, GROMAIRE, GUILLAUMIN, LEGER, LORJOU,
A. MARCHAND, ROUSSEL, VLAMINCK, /I KM

'L*Enseigne du Marechal Ferrant' by Gericault

Auctioneer : Me. Etienne ADER

12 rue Favart Tel: 742.68.23

On view: Thursday, June 10th from 10 a.m. to 6 p.m.
and from 9 p.m. to 1 1 p.m.

Experts: M. A. Pacitti
M. P. Damidot
M. J. Lacoste
M. O. Le Fuel
M. Lebel

M. T. Catroux
M. G. Heim-Gairac
M A n. i in i If
M. Fromanger
M. Dubourg

On view: Wednesday. June 16th from 9.30 to II p.m. and
Thursday. June 17th from 10 a.m. to 6 p.m.

I XXIX

Perseus Arming
by

Alfred Gilbert
(1834-1927)

Cyril Humphris Ltd.

23 OLD BOND STREET, LONDON W.l

MAYfair 6240

You must have the 1965/1966

INTERNATIONAL
ANTIQUES YEARBOOK

Edited by Philip Wilson

* Articles: Art Sales (Reitiinger), Early Furniture
(Wolsey) Silver Bibliography (Delieb), Glass (Howard
Phillips) and Victoriana (Violet Wood).

❖ Information: Directories of Dealers throughout
Britain, Europe and New York.

❖ Improvements: Now 1032 pages including 26 street
maps of towns, 24 pages of British road maps and
introducing colour illustrations.

Just Published 21s.

Studio Vista Limited publishers
Blue Star House, Highgate Hill
London N.19. ARC 7531

V

The Connoisseur, June, 1965

LXXX

'Rue de Castiglione'

13x16 inches

ERNEST RENOUX

1863 - 1932

FIRST LONDON EXHIBITION

June 16 — July 10

KAPLAN GALLERY

6 DUKE STREET ST. JAMES'S LONDON SW1

WHItehall 8665

mmm

me n

*ei icli
pen n I it i os

63 East 57th St NEW YORK PL 5-3020

A UNIQUE RECORD !

Celtic Harp and Croon

PR. 5313 Price 12/6

From: CLARSACH RECORDINGS, OBAN, SCOTLAND

'A luuntingly beautiful E.P.' (Wemyess Craigie in Scotland' s Magazine)

P. H. <*l I I I \<«ll \ M

Member: B.A.D.A. Ltd.
Antiques and Works of Art

LARGEST STOCKS IN THE SOUTH OF ENGLAND

Speciality: Old English Cottage Furnishing
8 CHERTSEY STREET 'LYNDHURST' LONDON ROAD

GUILDFORD

Telephone: 5750

GUILDFORD

Telephone : 61952

GRABOWSKI GALLERY

84 Sloane Avenue London SW3 KEN 1868

To June 1 9

BRIAN WRIGHT/paintings KRYSTYN ZIELINSKI/constructions
From June 22 ZOICA GROUP/ALAN RICHARDS/paintings

SARIN

GALLERIES

4 Cork St., Bond St.
REGent 6186

Specialists in
English 18th Century
paintings and drawings

THE TRYON GALLERY LTD

41-2 DOVER STREET, LONDON, W.i HYDE PARK 5161

Sporting and Natural History pictures

BROADWAY ART GALLERY, Broadway, Worcs.

Telephone Broadway 3237

Impressionist and 20th Century Paintings

SPANISH MASTERS

COIN & MEDAL SPECIALISTS

Collections and rare pieces wanted
Catalogue of English Coins l4/9d including postage

A list of catalogues and other publications on request

B. A. SEABY LTD.

65 Great Portland Street, London W.I Telephone LANgham 3677

j. A. FREDERICKS

(Member of The British Antique Dealers Association)

Wishes to Purchase Old English Furniture

DORSET GALLERIES
49 DORSET STREET, BAKER STREET, LONDON, W.I Welbeck 8934

Hal O'Nians

OLD MASTER DRAWINGS EXHIBITION

until 12th May

6 RYDER STREET, ST. JAMES'S, LONDON, S.W.I

Telephone: Whitehall 9392

Books and The
Be I grave Library

Readers, especially in some of the remoter parts of
the world, may like to know that any book reviewed
on these pages, or shown under 'Books Received',
can be ordered by post from The Bclgrave Library,
22 Armourv Wav, London, S.W.18.

4S ^S^ovei .Sfheef*. ^&>i</o// /ft^S

Hyde Park 47 [ 1

CHINESE

GALLERY

ANTIQUE JADE CARVINGS AND SNUFF BOTTLES

40 Great Russell Street, London, W.C.I.

(LANGHAM 7538)

lall Porringer. London 1661 . Maker E.T. Weight 3.85 ozs.
ight 2h". □ Tobacco Box. London 1683. Maker
njamin Pyne. Weight 5.45 ozs. Arms of Seymour.

REY & CO. LTD ■ 165-169 NEW BOND STREET ■ LONDON, W.l ■ Tel : HYD 6767

*° •'"'•„ ;

By Appointment
to H.M. The Queen.
SHversmllhb
& Jewellers

ASPREY IN THE CITY: The City man will find a close-at-
hand service at Asprey and Birch & Gaydon, 153 Fenchurch
Street, where, besides the comprehensive stock held, any
pieces can be sent from Bond Street at short notice.

An attractive Louis XVI mahogany oval Gueridon. Height A rare and fine pair of Louis XV ormolu Chenets stamped H3 Height 21^ in. x 14 in.
2 ft. 5^ in. 2 ft. 3± in. I ft. 9 in.

V. M. BAUDOUX

SPECIALIST FINE FRENCH
i8th CENTURY FURNITURE

28 KNIGHTSBRIDGE LONDON S.W.I BELGRAVIA 4192

One of a fine pair of Louis XV rococo ormolu Wall A Louis XV Transition Commode, magnificent marquetry. Signed I DUBOIS. Received Master
Lights. Height I5i in. 1755. Height 2 ft. 9± in. x 4 ft. 3 in. • I ft. 10* in.

BY APPOINTMENT TO
HER MAJESTY THE QUE EM
GOLDSMITHS & CROWN JEWELLERS
GARRARD & CO. LTD., LONDON

GARRARD The Crown Jewellers

One of Europe's finest collections of modern jewellery and
silver is to be found at Garrard in London's busy Regent
Street. Here too is an unsurpassed, constantly changing
selection of rare antique silver. Any trip to London would
be incomplete without a visit to the extensive Garrard
Showrooms covering a site which was once occupied by
thirteen separate buildings.

Visitors are ensured of a courteous welcome where
they will receive knowledgeable guidance for their
requirements.

From the Garrard collection of large stones, a solitaire
diamond ring in marquise cut of 24.88 carats.

A bracelet set with baton and marquise diamonds, one
of many from an extensive selection always available or
may be made to order.

From the Antique Department a George IV gold box
with enamel cover dated 1823.

GARRARD The Crown Jewellers

112 REGENT STREET W 1 ■ REGENT 7020

LXXXV

JACOBUS LINTHORST (1745-1815)
Dated on pane!
Size 30 X 24^ inches
Signed and dated 1808

THE

LEGER GALLERIES

LTD

MAYFAIR 3538/9

(J. LEGER & SON)

13 OLD BOND STREET, LONDON, W.l

ESTABLISHED 1892

BRUSSELS: 13 RUE DE LA REGENCE

STAND 24 at the
Antique Dealers' Fair, Grosvenor House

We desire to purchase paintings and
water-colours by old and modem masters

The Connoisseur, June, 1965

LXXXVI

A superb pair of George I silver gilt cups and covers, engraved with the Royal Arms and Cypher of
George I, by philip rollos, London 1714. Height 1 5 A inches. From the collection of Lord Methuen.

An example from our collection of Early English Silver
Exhibiting at the Grosvenor House Antique Dealers' Fair, Stand No. 77

Valuations for Probate,
Insurance and Division.

Telephone : MA Yfair 6261 & 6262 Telegrams: inland, >Euclase, Wesdo, London ; overseas, iEuclase, London, W.V

BROMPTON GALLERIES

172 BROMPTON ROAD,
LONDON S.W.3
Telephone: Knightsbridge 5964

Fine quality 18th and early 19th Century
English and French Furniture
Fine Dinner and Dessert Services
Porcelain Plaques of
Derby, Worcester, Rockingham. Spode, etc.
Enamel Plaques by Henry Bone

WE ALSO WISH TO ACQUIRE
MINTONS PATE-SUR-PATE
AND WEBB CAMEO GLASS

Write or phone - prompt personal attention

Incorporating C. L. NYMAN & CO. LTD.,
230 CAMDEN HIGH STREET, LONDON N.W.I

Telephone: Gulliver 1907
(Evenings: Maida Vale 9470)
Established 50 vears

Illustrated: Pair oj Superb porcelain plaques impressed 'Chamberlain Worcester'
In mint condition. Botli is in. wide

PICASSO AT WORM

An intimate
photographic
study by

EDWARD
QUINN

Introduction
and text by

ROLAND
PENROSE

In this book is portrayed, in full activity and in all his
moods, the genius of Picasso. Edward Quinn has
photographed the artist and his work for 14 years,
catching all aspects of his daily life with remarkable
intuitiveness, and Roland Penrose fills in the details
that the camera cannot show.

8 full-page chapter-opening paintings by Picasso
13" x 10" 282 photographs (52 in colour) 6 gns

W. H. ALLEN

Collectors Creatures;

Very fine Buhl clock with musical box playing 6 tunes, c. I860

Yon arc invited to inspect a wide variety of
iintiaiic and decorative objets d 'art

COLLECTORS TREASURES LIMITED

91 High Street. Amersham, Bucks. Amersham 2713

8-9 Church Street, Windsor, Berks. Windsor 60157

The Connoisseur, June, 1965

LXXXVIII

A FINE RARE CHARLES I TANKARD & COVER 1638

in original condition and with contemporary armorials

date 16S8: maker's mark RP in a heart shaped shield

height to eover 4J inches: diameter of base 4 inches: weight 13 43 ounces.

DENYS WREY Ltd. -

Members of The British Antique Dealers Association

45 SLOANE STREET LONDON S.W.I

Telephone: BELgravia 1813 14

Period Furniture Works of Art
Expert Restoration of Antiques

Showing at the Antique Dealers' Fair
at Grosvenor House, Stand No. 7

A magnificent mid- 18th Century carved and gilt-
wood Rococo Wall Mirror of particularly beautiful
design. Overall measurements: Height 60 in.,
width 40 in.

WE ARE ALWAYS ANXIOUS TO BUY FINE ENGLISH ANTIQUE
FURNITURE

FOR THE COLLECTOR AND CONNOISSEUR AND PROGRESSIVE ANTIQUE DEALER
Essential reference books Latest editions Fully illustrated and excellently produced

benezit's great dictionary of world painters. 8 Volumes. 6,400 pages. 252 colour plates.
Latest edition to 1964. ^36. ($105.00.) French text.

English Goldsmiths & their Marks, c. jackson. 1965.

L*

Dictionary. English Furniture. (1 Vol. Ed.). R. edwards.

L*sh

British Sporting Paintings, s. h. paviere.

Rockingham Porcelain, d. g. rice.

IH

Lady Ludlow Collection of English Porcelain.

£90

Chinese Snuff Bottles. L. s. perry.

Isi

Trompc l'Oeil Paintings, r. seddon.

&

Cameo Glass. Woodall-Wcbb. G. w. beard.

Ish

Gold Boxes of Europe, k. snowman.

English Painted Enamels. G. B. hughes.

£4

Astbury, Whicldon & R. Wood Figures, capt. price.

Lv

Later Chinese Porcelain, soame jenyns.

L*

The Miniature in Europe (4 Vols.), l. r. schidlof.

Las

Pontypool Japanned Wares, w. D. john.

m

La Porcellana di Doccia. c. lisci.

£h

George Gunnery. China Coast Artist.

British Silhouettes, j. woodiwiss.

Pictorial Pot Lid Book. h. g. clarke.

L*h

Oriental Lowestoft China. J. A. lloyd hyde.

m

Chinese Porcelain. 16th Cent. Colour Plates.

lA2

Old Glass Paperweights. E. bergstrom.

L*i

Great Private Art Collections. Sir K. Clark.

m

British Sea Painters. 2 Vols. F. G. roe.

Chelsea, Bow & Derby Figures, frank stoner.

l7i

Spanish Antique Furniture, m. lozoya.

111

Meissen Porcelain. Untcrmyer Coll. Cat.

19

Swansea Porcelain, w. d. john.

111

Ancestors in Silhouette, (a. edouart.)

French Porcelain, Pierpont Morgan Coll. Cat.

lis

Japanese Porcelain, soame jenyns.

1st

Still Life, Flower & Fruit Painters. 4 Vols.

LA2

Old English Silver, w. w. watts.

£*

Coloured Worcester Porcelain. Et. r. Marshall.

to

Rathbone's 'Old Wedgwood', de luxe edition.

l2SS

60 Page Catalogue, listing 1,500 Collector's Books scut Free on Request.
THE CERAMIC BOOK COMPANY, ST. JOHN'S ROAD, NEWPORT, MON., ENGLAND

The Connoisseur, June, 1965

XC

6 miles from Paris

ENGHIEN-les-BAINS

the hydropathic establishment of Paris

THE FAMOUS CASINO

beside the lake

THEATRE
RESTAURANT DE LA PERGOLA
GRAND HOTEL DES BAINS

LUXE ★★★★ LUXE
PARK and SWIMMING POOL

20 minutes from tlic Place de F Opera are to be found
all the facilities and attractions of a provincial spa

TELEPHONE: 964.08.60 (5 LINES)

Open from 1st April to 31st December

XCI

DAVID TREMAYNE ltd

Antiques and Works of Art

320 King's Road

Chelsea S.W-3

Flaxman H94

FERRERS

20 x 17A inches Miss LETTY DENE Exhibited at The Royal Academy 1897

by

LORD LEIGHTON

PAINTINGS OF THE BELLE EPOQUE

Opening 10th June

FERRERS

9 Piccadilly Arcade, London S.W.i

HYDe Park 6948

JOLLY & SON LTD Chattel Auctioneers

MILSOM ST., and OLD KING ST., BATH, SOMERSET

SALE

BY

AUCTION

of Contents of Residence

14 BATHWICK HILL
BATH

Georgian Silver; Jewellery;

18th & 19th cent. Porcelain;

Pictures; Books and
Period Furniture.

Monday, 14th June, 1965

On View: llth-12th June

Illustrated Catalogue 2s. from

Auction Rooms, Old King St.

Further particulars

Tel. BATH 3201 4 lines

LONGTON HALL, c. 1750

in safe hands

Only at the point of safe arrival can
you measure the success of your
sale or purchase, thus packing and
shipping call for the greatest
expertise.

For nearly ninety years collectors
and dealers have learned to rely on
the special service offered by
Pitt & Scott.

STAND 73 Antique Dealers' Fair
and Exhibition June 9-24th, 1965.

mm

PITT & SCOTT LTD

20-24AC Eden Grove, London,
N.7. Tel: NORth 7321

Household removals at home and abroad.
Warehousing facilities. Insurance. Advice
on Customs and Consular requirements.
Passenger travel service. Branches in
Glasgow, Liverpool and Paris. Free advice
and quotations.

The Connoisseur, June, 1965

XCIV

IENRI MARTIN 1860-1943 'Les Vendangeuses' c. 1910 Oil on canvas 20 35 inches

An example from our extensive collection

of

Impressionist and Post- impressionist
Paintings

KAPLAN GALLERY

6 DUKE STREET

ST. JAMES'S

WHItehall 8665

LONDON SW1

xcv

Marlborough

June 1965

Marlborough Fine Art Ltd

39 Old Bond Street, London W1

19th and 20th Century French Paintings
from English Private Collections

3 June - 10 July

( Catalogues will be sold in aid of the Artists' General Benevolent Institution )

Marlborough New London Gallery
17-18 Old Bond Street, London W1

CERI RICHARDS

Retrospective Exhibition

3 June - 30 June

Marlborough-Gerson Gallery Inc. Marlborough Galleria d'Arte,

41 East 57th Street New York via Gregoriana 5 Rome

The Connoisseur, June, 1965

XCVI

RANK PARTRIDGE

SONS LTD

^4 New Bond Street, London W.i

JMMER EXHIBITION 9-25 JUNE 1965

THE 1965 SUMMER EXHIBITION AT THE PARTRIC

of 8 LOUIS XV giltwood Armchairs English marquetry Commode by JOHN cobb Pair ofgiltwood wall Candelabra, LOUIS jJ

4ft. 3 in. 2ft. 1 in. < 3ft. high Height 3 ft. 9 in.

Bronze of a trotting horse by edgar degas
Bronze 'Venus & Cupid' by GIROLAMO CAMPAGNA
Venice 15S0 l ft. 4 in. high

ERIES 144 NEW BOND STREET, LONDON W.i

ir of Adam Torcheres
ct. high

ir of marble and ormolu Candelabra, LOUIS XVI
'(. " in. high

Black lacquer Secretaire stamped 'boudin'
2 ft. 7 in. x 1 ft. 2 in. X 4 ft. j in. high
LOUIS XVI mounted vermilion bowl

W. R. HARVEY & Co.

(Antiques) Ltd.
69 CHALK FARM ROAD, LONDON N.W.i

Early 1 8th Century walnut bureau cabinet
37 in. wide, 84 in. high.

Fine Antique Furniture

Members of The British Antique Dealers' Association Ltd.

Tadeusz llnicki
Two^Musicians'
Oil on canvas
36 x 28 inches

june

ILNICKI
ROCHBERNY
STOCKI sculpture

paintings

drian galleries

5-7 porchester place marble arch london W2 pad 9473

agents for Burt. Lacasse, Portway

mg

Les peintures de
JEAN LE MOAL

June 1965

MOLTON GALLERY

44 South Molton Street, London W.1

Mayfair 2482

FORTHCOMING EXHIBITIONS

Artists from the
Galerie Suzanne Bollag, Zurich
Rodney Gladwell Alfred Young
Maurice Jadot

The Connoisseur. June, 1965

C

AGNEW'S

4S La Sortie dit Train Chalk and wash g\ X 12 in.

EXHIBITION OF I
ENGLISH AND CONTINENTAL
DRAWINGS AND WATERCOLOURS
i860 — 1 goo

June 15th -July 10th

43 Old Bond Street and 3 Albemarle Street London W.i j

Telephones: HYDE PARK 9188 and 9189

Telegrams: 'RESEMBLE, LONDON'

ROLAND

BROWSE &

DELBANCO

19 CORK STREET, OLD BOND STREET, W.l

PAULHUET, 1 803- 1 869

The Wave, Honfleur, 11AX15 in. 1826-28 j

GERICAULT to COURBET

A new look at the period
27th MAY - 26th JUNE

The Connoisseur, June, 1965

< II

O'HANA GALLERY

1 > CARLOS PLACE GROSVENOR SQUARE LONDON W.i

965 SUMMER

EXHIBITION

OF

;nch masters

OF THE

I9th & 20th

CENTURIES

DEGAS Femme a sa Toilette 1898
Pastel 37i X 19! inches

Antique Gold Boxes . . .

by GARRARD

BY APPOINTMENT
TO HER MAJESTY THE QUEEN
GOLDSMITHS fit CROWN JEWELLERS,
GARRARD Ac CO. LTD., LONDON

,,,»""\

\ /(■'< (">; 1

ill11' -
( ' ** ^V

« k v^s€~

Louis XVI Snuff Box,

the miniatures signed bv
DeGault. 31 x2ft x 1 ti in.,
Paris 1781

maker : Alexis Roger

FARMER GENERAL:

Henri Clavel

p^iw^ w^c V- ^ ^ J

Louis XV Snuff Box, Snuff Bun.

diameter 2; in., black lacquer 3 1 \2» in.. Frenc
and gold speckled ground.
Paris 1763.

FARMER GENERAL:

Jean Jacques Prevost.

- :

Louis XVI Snuff Box.

rench. Circa 1 810. black lacquer and

pique point. 3; x 2; x lin.,
Paris 1781.
makir: Adrien-Jean
Maximilien Vachette.

I \RMFR GENERAL:

Henri Clavel.

GARRARD The Crown Jewellers

? F F N T STRF

^ **** htf

Louis XVI Snuff Box.

diameter 2in.. the enamel
simulated lapis lazuli.
Paris 1777.

maker: Jean-Baptiste
Francois Lebel.
farmer general:
Jean Baptiste Fouache.
From the Hare wood
Collection.

112 REGENT STREET W1

REGENT T020

The Connoisseur, June, 1965

CIV

An 'INTRODUCTORY'

EXHIBITION

RONALD A. LEE

wishes to introduce his partner R. T. Gwynn
to his friends and clients and to locate the new
gallery by exhibiting a small but wide range of works
of art, to indicate the type of stock zuhich may be
seen there in the future.

is being held at

1-9 Bruton Place, W.i

9th JUNE - 25th JUNE

PAINTINGS, FURNITURE, SILVER, CLOCKS, EARLY WORKS OF ART

All items on show are for sale. The gallery will be open daily

Monday - Friday from 10.30 a.m. - 5 p.m.
Wednesdays 10.30 a.m. - 8 p.m.

The entrance fee will be donated to

The National Deaf Children's Society

The Manor House
Byfleet, Surrey
Tel. Byfleet 43346

1-9 Bruton Place
London W.I

Tel. May 5600

cv

RONALD A. LEE

P. BONN ARD 'La place Clichy' PARIS 1903

IMPRESSIONIST

and

FINE CONTEMPORARY PAINTINGS

Paul PETRIDES

EXPERT PRES LES DOUANES FRANCAISES

53, RUE LA BOETIE

TEL: 359-26*04 & 225-35-5] A 1F\. I S CABLE: POLPETRI • PARIS

BONNARD • DEGAS ■ RENOIR ■ Raoul DUFY ■ MARQUET • UTRILLO
Suzanne VALADON ; FOUJITA ; TERECHKOVITCH ■ VAN DONGEN

HOTSPUR

LTD.

14 LOWNDES STREET, BELGRAVE SQUARE, LONDON, S.W.,

Antique Dealers' Fair Stand 26

18th CENTURY
ippcndak period mahogany Torcheres
ilily in brilliant patinatcd condition

THE OLD

TEL: 905

18th Century George II carved gilt\
Console or centre) Table with marb
Width 2 ft. 1 1 in. Depth 2 ft. Height 2 f

An important 18th Century marble group. Psyche
with Pandora's Box. A unique statue and certainly the
finest example of its kind for sale in this country
Height 8 ft. 2 in.

One of a pair of fine 19th Century
marble Lions
Height 3 ft 10 in.

Open weekfJi
WE HAVE A LARGE AND VAR6E

:k house

[51 HKS

A rare 18th Century black lacquer serpentine

front Side Table
Back width 4 ft. 5 in. Front width 4 ft. 9 in.
Depth 1 ft. 9>, in. Height 2 ft. 94 in.

A magnificent black lacquer
18th Century Bureau Bookcase
Height 7 ft. 6 in. Width 3 ft. 3 in.

Depth 2 ft.

\ superb 18th Century carved

giltwood Mirror
Height 7 ft. Width 3 ft. 6 in.

wur Jrom London

STIQUES AND GARDEN ORNAMENTS

BOOKS FOR COLLECTORS

British Silhouettes

JOHN WOODIWISS

A fascinating account of this forgotten art w ith 32 pages of illustrations,
most of which have never appeared in a book before. 50s.

RALPH FASTNEDGE

Regency Furniture

This classic work by the late Margaret Jourdain has now been completely
revised and enlarged. With over 250 photographs, some in colour. £4 4s.

Victorian Furniture

R. W. SYMONDS and
B. B. WHINERAY

British ..os
Silhoneiies

A complete survey of Victorian furniture during the period when it
changed from a craft to an industry. 282 illustrations. £4 4s.

The Shorter Dictionary of English Furniture RALPH edwards, c.b.e.

'Highly welcome . . . remains supreme as a comprehensive guide to the serious student' Financial Times.

1900 photographs. G84 pages. £15 15s.

The Collector's Dictionary of Clocks

'A mass of horological information of the greatest value." 500 photographs. £10 10s.

The Collector's Dictionary of Glass

'A superblv produced work which gives an immense amount of information about old and new glass' The Field.

H. ALAN LLOYD

E. M. ELVILLE

280 photographs. £8 8s.

From your Bookseller or from: COUNTRY LIFE LTD., 2-10 TAVISTOCK STREET, LONDON WC2

The Connoisseur, June, 1965

CXII

Ewer Dish. Deruta c. 1525. 13 in.
Former Adolphe de ROTHSCHILD Collection.

Ewer Dish. Deruta c. 1530. 12 3/4 in.
Former TESTARD Collection.

ALAVOI N EE

DECORATION - WORKS OF ART
42, AVENUE KliBER - PARIS 16e - TEL. 727-07-67

Bronze. Italy. 16th century. 5 1/4 in. long.

BRIAN KOETSER GALLERY

HENDRIK JACOBSZ DUBBELS Sl§ni<l Panel 19 x 17 inches

Collection Sir Bruce Ingram

SPRING EXHIBITION

OF

OLD MASTER PAINTINGS

Until 2nd July

Weekdays 10-6 Saturdays 10- 1

38 Duke Street, St. James's, London, SWi

Whitehall 6309

SUPERB ANTIQUE ENGLISH ENAMELS FROM THE FAMOUS
COLLECTION OF THE LATE THE HONOURABLE Mrs. NELLIE IONIDES

Top Row Pair of exquisite plaques of Ladies and Gentlemen with landscape backgrounds. Size 5 in.
Small green patchbox with Benjamin Franklin on top of lid

Middle Left. Portrait of King Carlos III of Spain

Centre. Superb landscape plaque after a painting by Claude Lorraine. (Illustrated by Hughes in

English Painted Enamels.) Size 8 in.
Right. Portrait of the King of Prussia

Bottom Pair of oval plaques of 'The Haymakers' and "The Travellers'. Size 6 in.

All the above pieces are in wonderful original condition

CHARLES WOOLLETT & SON

(Member of B.A.D.A. Ltd.)

59/61 WIGMORE STREET, LONDON W.1

Established 1889 Phone: Welbeck 8664

ROXALD PHILLIPS

LIMITED

31 OLD BROMPTON ROAD
LONDON S.W.7

Kensington 5858

An unusual and probably unique narrow walnut sofa table with
finely veneered burr walnut top. The interesting end-supports,
somewhat in the manner of William and Mary, suggest that
this piece may well have been specially made to go with wal-
nut furniture of an earlier period, manufactured before the
introduction of sofa tables. Circa 1795

Length {flaps up) 4 ft. 9\ in.
Depth 1 ft. 8h in.

Height 2 ft. 5\ in.

v ■

■

Exhibiting at the Antique
Dealers' Fair on stand 56

OLD ENGLISH
& IRISH
GLASS

Members of the
British

Antique Dealers'
Association Ltd.

Exhibiting at
the Antique
Dealers' Fair
& Exhibition at
Grosvenor
House,
9th-24th June,
1965,
Stand No. 4

Fine Georgian glass bowl and pair of unusual turn-over edge preserve jars and covers. All brilliantly
decorated with diamond and step cutting. Circa 1810. Glass bowl - Height 10 in. Jars- Height 1\ in.

CECIL DAVIS

LTD

Cables: CRYSTALDAV, LONDON 3 GROSVENOR STREET LONDON W.1 Telephone: GROsvenor 3 1 30

The Connoisseur, June, 1965

CXVI

VALUATIONS

TEMPLE
WILLIAMS

LIMITED

ANTIQUES

WORKS OF ART

A RARE 18th CENTURY ENGLISH TOILET MIRROR MADE FOR THE EASTERN MARKET,
superb quality in finely chiselled gilt bronze, the handles to the drawers jewelled; the cresting inset with a Bilston
enamel Miniature CIRCA 1773 18 in. wide, 2 ft. to in. high

STAND 45 AT THE GROSVENOR HOUSE ANTIQUE DEALERS' FAIR

LAUNCH OF VENISON YARD • BROOK STREET- LONDON -W l

iterally a yard off Brook Street

SPECIALIST IN UNUSUAL PIECES OF THE REGENCY CHINOISERIE PERIOD

MAYFAIR 1486

MEMBERS OF THE BRITISH ANTIQUE DEALERS' ASSOCIATION LTD

A Meissen figure of a Pancake Seller, from the Crls de Pons series
modelled by J. J. Kaendler and P. Reinicke, circa 1750. She stands
holding a basket of pancakes in her left arm and wearing a white
head scarf, purple bodice, yellow apron over a white and floral
skirt. 8 inches high.

BEAUCHAMP
GALLERIES

STAND No. 70, Grosvenor House Antique Dealers' Fair

BEAUCHAMP PLACE

LONDON SW3

Telephone: Kensington 5716

Antique Diamond Flower Brooch
English circa 1800

BENTLEY & CO

Antique Jewels and Jewelled Objects of Art
permanently on view at

65 NEW BOND STREET, LONDON, W.l

Telephone: MAYfair 0651

HENRY SPENCER

& SONS ^^^^

ESTABLISHED 1840

Eric C. Spencer, C.B.E., M.A. (Cantab.), F.R.I.C.S., F.A.I.
Rupert W. Spencer, M.A. (Cantab.), F.A.I.
H. Michael Spencer, F.R.I.C.S., F.A.I.
L. M. Seymour. W. E. Peck, F.A.I. Harry C. P. Spencer, A.A.I.

of RETFORD, Nottinghamshire

Sales by Auction

of the Contents of Mansions and Country Houses
Sales of Landed Estates and Properties

RETFORD SALEROOMS

THURSDAY and FRIDAY 17th and 18th JUNE

XVIII and XIX Century Furniture
Paintings, Porcelain, Silver, Works of Art, Coins

JUNE 24th

The Contents of Burgage Court, Southwell, Notts.

By order of The Executors of the Late K. Tweedale Meaby, Esq.,
C.6.E.. D.L

20 The Square, RETFORD, Notts.

Telephone 2531-4

The Connoisseur, June, 1965

CXVIII

SAB IN

GALLERIES ltd

4 CORK STREET BOND STREET

The Nottingham Manor House of
the Pierrepont family, circa 1708,
by Leonard Knyfe.
Canvas 36 48 inches.

AT GROSVENOR HOUSE

'Taking the Census* by Francis W. Edmonds 1806-1863, American
Recorded in Artists of the 19th Century and their Works
hy Clement and Hutton also recorded in: Champlin and Perkin-
Oil on Canvas 28 x 38 inches.

WANTED TO PURCHASE

PAINTINGS, BRONZES, DRAWINGS,
WATERCOLORS, etc., by AMERICAN
and EUROPEAN ARTISTS -

A Particular want is anything of American
Historical Interest, especially subjects relating to
the West, such as the Cowboy and Indian, West-
ern Landscape, etc.. by Artists such as Remington,
Russell. Schreyvogel. Kreighoff. Rierstadt. Catlin.
Homer. Harnett and lesser-known Artists,

AMERICAN and CANADIAN ARTISTS
of the 19th Centurv School.

EUROPEAN STORYTELLING
PAINTINGS by Polish. Russian.
German and Italian artists.

COMPLETE COLLECTIONS
PURCHASED

J. IV. BARTFIELD ART GALLERIES. INC.

45 West 57th Street
New York, N.Y. 10019 Phone - 212 PLaza 3-1830

Very fine 18th Century SERPENTINE
inlaid mahogany Sideboard

67 in. ■ 29 in. < 36 in. high

Lovely faded colour and patination.
Original handles.

QUINNEYS LTD WALTER NEEDHAM

Charles I Galleries and St. Michael's Rectory 40-61 BRIDGE STREET ROW, CHESTER

Telephone: Chester 22836 and 2363;
Cable Address: 'Needinc', Chester

The Connoisseur, June, 1965

CXX

Charles II Saucer Dish
Maker's Mark- T.G. hull c. 1666
6k inches diameter
Weight: 3-45 ounces.

STAND 36 AT THE GROSVENOR HOUSE ANTIQUE DEALERS' FAIR

anc/ a/ t^etwpesietd J^?L<ze/ &ajdkeM/i& telephone 3452

DAVID BLACK & SONS

1 Burlington Gardens,
New Bond Street W.l

FINE ANTIQUE ENGLISH AND
CONTINENTAL SILVER
OBJETS DE VERTU AND WORKS OF ART.

Telephone: HYDe Park 3851

BERNARD BLACK GALLERY

1062 Madison Avenue,
New York 21

(Associate: HUGUES W. NADEATJ)

AMERICAN PAINTINGS AND DRAWINGS
OF THE 19th AND EARLY 20th CENTURIES
SCULPTURE AND WORKS OF ART
OF ALL PERIODS.

Telephone: Trafalgar 9-2171

We are always desirous of purchasing any of
the above-mentioned works of art.

HAIM'S

31 Brook Street
London, Wi

Tel: MAY fair 6300

Large stock
Fine Aubusson and
Savonnerie
Carpets and Rugs
of various sizes

Also
Fine Old Persian
Carpets

Specialists in
Fine Quality
Plain Wilton
Carpets,
pastel shades

Fine old AUBUSSON RUG Louis XVI

The Connoisseur, June, 1965

CXXII

LEGGATT BROTHERS

ESTABLISHED I 8 2 O

BALTHASAR VAN DER AST
c. i J90 — c. I 6 c6

Flowers in a Vase
Painted on panel size 19 x 141 inches Signed

30 ST. JAMES'S STREET, LONDON, S.W.i

Telephones: Whitehall 3772 and 3252 Cables: Leggabros, London S.W.i

A superb English 18th Century carved
Pinewood Chimneypiece in the French manner,
with original old vein marble slips.

Length of shelf 6 ft. bi in.
Total height 4 ft. 1 1 in.
Opening width 3 ft. io|in.
Opening height 3 ft. 7^ in.

T. CROWTHER & SON

(T. CROWTHER & SON LTDt

282 NORTH END ROAD ■ FULHAM ■ LONDON S.W.6

Telephone: FULham .375-7 Grams: Antiquity. London

Please note: we close i p.m. Saturdays

ANTIQUE DEALERS
FAIR STAND NO. 75
GROSVENOR HOUSE

FOUNDED 1750

A stiff breeze in the Channel off Dover.

G. Webster ft. 1797 to 1832. Canvas size 18" X 24".

Visit our Stand in its usual location at Grosvcnor House. You will enjoy
seeing our latest selection of paintings, prints and models.

THE PARKER GALLERY

2 ALBEMARLE ST., PICCADILLY, W.J. GROSVENOR 5906

□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□

SIMON KAYE LTD

□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□a

The Connoisseur, June, 1965

CXXVI

TREVOR

Member of The British Antique Dears' Associa,

ion Ltd.

EXHIBITING STAND

No.

29 ANTIQUE DEALERS' FAIR, GROSVENOR

IULm

HOUSE

of excellent colour a„d pat.nation. England, circa i785
Height 6 ft. n in. Width 3 ft. i in. Depth 1 ft sin

TREVOR- ANTIQUES OF BRIGHTON

Open all Saturday T , , ^ & '5 SHIP STREET BRIGHTON 1 SUSSFV

Telephone: BRIGHTON 26712/29586 rM ^ SUSSEX

Cables and Telegrams: TREMAR, BRIGHTON

MANN &
FLEMING LTD.

Members of The British Antique
Dealers' Association Ltd.

Exhibiting at the Antique Dealers' Fair,
Grosvenor House, stand 5

ANTIQUES
DECORATIONS

120B MOUNT STREET
LONDON, W.l

GROsvenor 2770

FRANCESCO CAPLTO

ARGENTERIA d'ARTE
Candelabri in stile
2, VIA C. BALBO MILAN. ITALY

Candelabro in stile Settecento

Victoria and Albert Museum Bulletin

Fully illustrated, this quarterly Bulletin contains articles and
notes on works in all media within the scope of the Museum,
and covers all important new acquisitions. The subjects, although
presented in a popular style, as always maintain a high standard
of scholarship. 7s. 6d. (postage extra)

Annual subscription 32s. including postage

Bohemian Glass

This picture book has been compiled on the occasion of the
Bohemian Glass exhibition held in the Victoria and Albert
Museum from April to June 1965. All the pieces illustrated
belong to the Museum of Industrial Art in Prague, and the
introduction to the book has been written by Dr. Libuse
Uresova of that Museum. 7s. 6d. (8s.)

The Barbizon School

The village of Barbizon has lent its name to a group of painters,
including Corot, Rousseau, Miller and Diaz, who worked there
between 1 830 and 1 875. This picture book contains a survey of
their work and reproduces nineteen of their compositions in the
Victoria and Albert Museum. 4s. (4s. 4d.)

Prices in brackets include postage at inland rates

Free lists of titles on art are available from Her Majesty's
Stationery Office, P6A (Conn.), Atlantic House, Holborn Viaduct
London E. C. I

El 12 BE

Government publications can be purchased over the counter or by post
from the Government Bookshops in London. Edinburgh. Cardiff, Belfast,
Manchester. Birmingham and Bristol, or through any bookseller

The Connoisseur, June, 196^

(XXVIII

JOHN CARROLL

(1735-1815)

Oil on Canvas 30 X 25 inches, datable c. 1775

EDUCATOR, PATRIOT, CHURCHMAN

Cousin of Charles Carroll of Carrollton, the
'Signer'; Envoy to Canada with Benjamin
Franklin and Samuel Chase; Founder ot
Georgetown University; First Catholic Arch-
bishop of the United States.

Painted in Civilian Clothes at the time of
his Mission to Canada, in his fortieth year,
this important American historical Portrait is
attributed to C. W. Pealc

Kennedy
Galleries, inc.

Founded 1 874 by H. Wunderlith

13 East 58th Street ■ New York 100-22

■

BRIMO DE LAROUSSILHE

58 Rue Jouffroy & 12 Rue de Chazelles

PARIS

Early 16th century altar screen in carved
wood with polychrome decoration - Antwerp
Height: 2,80 m. X Width: 2,30 m.

CXX1X

THE SIGN OF KNOWLEDGE AND SERVICE

Britain is an endlessly rewarding treasure house of the craftsmanship of the ages in everything that embellishes the home and
its surroundings and distinctively proclaims the taste of its owner.

The world's discriminating buyers of antiques are coming more and more to Britain. They recognise and acclaim the expert
knowledge and willing service of the members of the British Antique Dealers' Association who trade all over Britain under
the blue, gold and white emblem of Benvenuto Cellini.

Members of the British Antique Dealers' Association arc happy to answer your inquiries on quality, history and value, to ad-
vise you on the best methods of buying and selling antiques and works of art of every kind and to let you know where the
finest collections can be viewed.

The members do much to enhance the position of Britain as the centre of the international art market, providing a service of
the greatest value to the overseas visitor.

THE BRITISH ANTIQUE DEALERS' ASSOCIATION

20 RUTLAND GATE, LONDON, S.W.7
Kensington 4128 & 2102

The Connoisseur, June, 1965

CXXX

By Appointment
Antiquaries of Chinese Art
to the late Queen Mary

By Appointment
Antiquaries of Chinese Art
to H.M. Queen Elizabeth
the Queen Mother

the Queen Mother

JOHN SPARKS

By Appointment
Antiquaries of Chinese Works or Art
to H.M. the Kino or Sweden

LIMITED

Cljineae Wot\& of &rt

A Chinese porcelain box and cover, decorated in five-colour enamels
Chia-Ching Period: A.D. 1522-1566 Width: 5 inches

EXHIBITING ANTIQUE DEALERS' FAIR: STAND 11

128 MOUNT STREET, LONDON, W.l

GROsvenor 2265

NEWHOUSE GALLERIES

ESTABLISHED 1878

MARGARET CARPENTER
1793- 1872
Size: 24 X 20 inches

FINE PAINTINGS

15 East 57th Street plaza s-um New York, N.Y.

NEWHOUSE GALLERIES

ESTABLISHED 1878

LUCAS CRANACH, THE ELDER (1472 - 1553)

On panel, size 21£ by 12| inches Signed with the Serpent Insignia
Painted circa 1518 A fully recorded work

FINE PAINTINGS

15 East 57th Street plaza 5-498o New York, N.Y.

$olak

The Cutter Yacht 'Oithona' and the Royal Yacht 'Victoria & Albert' off Cowes. Isle of Wight.
Oil on canvas 34 by 54 in. by a. vv. fowles - signed and dated 1861.

(The Bury Art Galleries)

Jfint $aintmgg & BratotngS

21 King Street, St. James's, London S.W.I (Member of b.a.d.a.) Telephone: Whitehall 9245

Maiolica di SAVON A

Fine del secolo XVII

GALLERIA SERBELLONI

29, Corso Venezia Milan Italv

One of a pair Jiiie shaped dishes
Unusual Rococo handles and border
By Gottfried Bartemiann
Augsburg 1 763-5
5J.5 cm. wide

J. CHRISTIE

Member of The British Antique Dealers' Association Ltd.

Antique English and Continental Silver

36 ST. GEORGE STREET, HANOVER SQUARE,
LONDON W.l MAYfair 3070

The Connoisseur, June, 1965

CXXXIV

on j

Members of Tin- British Antique Dealers" Association Ltd.

191-195 Fulham Road South Kensington, S.W.3

Telephone : Flaxman 9826

Fine Hepplewhite Mahogany Settee

EXHIBITING AT STAND No. 68 ANTIQUE DEALERS' FAIR, CROSVENOR HOUSE

MEXICO

FOUR SEASONS - FOUR SPRINGS

Land of Mystery and Beauty
Land of over 11,000 Archaeological Sites
Land of Art and Progress

Imposing remains of the Olmec, Teotihuacan, Toltec, Maya,
' Zapotec and Aztec civilizations. Baroque palaces and churches
of the colonial era showing traces of the Indian character.
Museums filled with countless historical treasures and bold
examples of contemporary Mexican art. Ample opportunity for
cultural enrichment and intellectual stimulation as well as social
life and entertainment. Beautiful sites, modern hotels, blue skies,
sandy beaches, picturesque Indian costumes — this all adds up to Mexico! Your
holiday there will be crowned by thefriendly welcome of the hospitable people in
this radiant country where the past and the present combine in harmony.

For further details contact your travel agent or:

MEXICAN TOURIST OFFICE, 60 Jermyn Street, LONDON, S.W.I. Tel. GRO. 4482

MEXICAN NATIONAL TOURIST COUNCIL — MEXICAN GOVERNMENT TOURISM DEPARTMENT, MEXICO D.F.

ANTIQUE SILVER

Smith r Si.inil and Snuffers
By A. Raven London 1698

Weight 1 2 oz. 2 dvvt.

2-j PICKERING PLACE, ST. JAMES'S STREET
LONDON, S.W.i

Telephone <&_ Telegrams: WHItehall 7140

ANTIQUE CARPETS - AUBUSSON - SAVONNERIE

Aubusson carpet of the Directoire period, pale blue ground
(10 ft. 4 in. • !0 ft. 10 in.)

GALERIE PERSANE

132 Bd. Haussmann, PARIS 8^

Phone: LABorde 27-39

Louis XV Gilt Console.
45| in. Length 22 in. Width

Antiques & Decorations

GARRICK C. STEPHENSON

TWENTY-FIVE EAST FIFTY-FIFTH STREET
NEW YORK 22 N.Y. PLAZA 3-2570

Still Life by Fede Galizia (1 578 -circa 1630)
Panel. 13 by 19J inches

Exhibited: La natura morta italiana; Cat. No. 23 -plate 7b
Naples. Palazzo Reale, November. 1964

ALESSANDRO ORSI

ANTIQUES

14 VIA BAGUTTA

MILAN (ITALY)

The Connoisseur, June, 1965

CXXXVIII

A pair of Chinese egg-
shell porcelain'! plates,
each decorated with a
maiden Immortal and
her attendant amidst
waves in Famille Rose
enamels of exquisite
quality. The reverse of
each covered with a rich
ruby glaze. Yung Cheng
period, A.D. 1723-1735.
Diameter 8 in.

Fine Old Chinese
Ceramics and
Works of Art

SYDNEY L. MOSS LTD

Stand No. 34, Antique Dealers' Fair, Grosvenor House

51 BROOK STREET, LONDON, W.I

Established 1910 MAYfair 4670

Volume Mil
1966

^1 Vnniversary«y

MASTAI

NOW

BEING

COMPILED

/s

NATIONAL CLASSIFIED DIRECTORY

OF

THE U.S. ART & ANTIQUE TRADE

ART MUSEUMS ART & ANTIQUE DEALERS AUCTION PRICES

(U.S.A. & EUROPE) Thoroughly Classified 1961-1965

66 A quarter century of service to the international art trade

FOR ADVERTISING RESERVATIONS, write to:

MASTAI PUBLISHING CO., LNC, 21 East 57th Street, New York 22, N.Y.

CXXXIX

Canvas 51 x 72 inches Signed and dated on ledge in centre ri«ht In carved qilt tram

J. van Huysum fecit 1757'

Collections: C. C. Cave
Lady Beatty
etc.

THE PULITZER GALLERY

c KENSINGTON HIGH STREET 17 JUNKERNGASSE

LONDON, W.8 BERN

The Connoisseur, June, 1965 CXL

The period of the French Empire is richly repre-
sented at French and Company. Among the treas-
ures, a majestic commode stamped with the mark of
Francois-Honore Jacob, great ebeniste to the Em-
peror Napoleon. Classic, typical of the period ... in
mahogany veneer with bronze dore mounts and
carved female caryatids. As a complement to its dis-

tinction and grace, we show a handsome pair of
white-veined brown marble urns and the lovely
"Portrait of a Woman", attributed to Baron Gerard.

FRENCH & COMPANY inc.

»T8 MADISON AVENUE, NEW YORK, N.Y.

MEMBER: NEW YORK ANTIQUE AND ART DEALERS ASSOCIATION

MERRYVALE

Antiques and Gardens

Exceptionally fine and heavy bowl, probably Waterford.
14\ in. long. 11 in. w ide. 5 in. deep.

Open Monday through Friday 9 to 5-30

3 640 BUCHANAN STREET SAN FRANCISCO 23

CALIFORNIA Tel. JOrdan 7-0615

Femme se Grottont
by

EDGAR DEGAS

Pastel

121 x 91 inches

Signed lower right
Executed in 1883

UAmfTlER GALLERIES Inc.

51 East 57th Street

New York 22

N.Y.

Cable address:
H ammergall , N.Y.

Telephone:
Plaza 8-0410

Late 1 8th Century
English mirror with
black lacquer frame
decorated in China.
Original plate.
6 ft, i in. high ■
4 ft. 2^ in. wide
overall

EDWARD GARRATT

INCORPORATED

Second Floor 136 EAST 57th STREET Plaza 5-6807

ANTIQUES NEW YORK INTERIORS

JOSEPHINE
HOWELL INC.

French Antiques

Louis XV carved and painted
Canape Corbeille. 6 ft. long

41 EAST 57th STREET
NEW YORK 22, N.Y.

PLAZA 3-5515

The Connoisseur, June. 1965

CXLII

fine pair of late-eightcenth century
urn-shaped knife boxes.
Mahogany inlaid with satinwood.
Height (closed) 24I". Square bases, 9".

Wakefield-Scearce Galleries

DIRECT IMPORTERS

Historic Science Hill Shelbyville, Kentucky

On main roads (U.S.60 and 1-61) between Louisville and Lexington
Open every day 9 a.m.-5 p.m. Closed Sundays
Telephone: (502) ME3-4382

Enjoy good food in Science Hill Inn
Both Gallery and Inn
located in Historic Science Hill

Franchisee! dealers for Doughty,
Boehni and Chelsea birtls

VISIT OUR SUBTERRANEAN SILVER VAULT

pier re matisse gallery

it til thus

If a e i ver

Culliy unnis

Ru buffet

River a

!U i ro

L e Corbusier

Rio pell e

Stiur a

.11 ill fires

Butler

If tt rini

G i a e otu e 1 ti

R o szah

41 East 57th Street, New York 22, N.Y.

English,
1 8th century
mahogany
folding library

steps with
platform and
book rest

Height 7 ft. 7 in.
Spread 4 ft. 10 in.

ANTIQUES
DECORATIONS
INTERIORS

CHODOFF

117 EAST 57th STREET, NEW YORK 10022
Area Code 212 ELdorado 5-7110

The Connoisseur, June, 1965

CXLIV

RENOIR

Formerly Collection Durand-Ruel. Paris

Size 12f > 1 63 inches

GALLERIES INC

1 19 East 57th Street NEW YORK Tel: PLAZA 3-1296

CXLV

Peaches in White Bowl
Spanish, 17th Century

SCHOOL OF ZURBARAN

Oil on canvas
25 X 28 inches

COLLECTORS'
FINDS

MAYNARD WALKER GALLERY

117 East Fifty-seventh Street

New York 22

Marquetry transitional
oral table, signed
( . TO PI NO, M.F.. 1773.

RICHARD V HARE

Antiques Interiors

927 MADISON AVENUE, NEW YORK, NEW YORK 10021 (212) UN 1-6910

e

TROSBY

GALLERIES

AUCTIONEERS

OF PALM BEACH, FLORIDA
NOW ACCEPTING CONSIGNMENTS

FOR THE

1965-'66 AUCTION SEASON

* — ■ —

EXPERT
APPRAISAL SERVICE ON
ART & PERIOD FURNISHINGS

OUR COMMISSION CHARGE ON ALL
MAJOR COLLECTIONS IS EXACTLY
TEN (10) PERCENT

For Appointment Please Write

TROSBY

INC

APPRAISAL DEPARTMENT
211 ROYAL POINCIANA WAY, PALM BEACH, FLA.
CABLE TROSART
Telephone (Area Code 305) 833-1650 and 833-4101

MILTON E FRESHMAN. President

The Connoisseur, June, 1965

CXLVI

PIERO TOZZI GALLERIES

cables: plertozzi new york

137 EAST 57th STREET NEW YORK 22, N.Y.

TEL: PLAZA 3-9 1 S9

vlust the National Gallery
|o on buying?

E have had the shinning match. The Swihian controversy,
whether one should wipe ones nose with the right hand or
th the left in order to advance a bid by £100,000, has been
ed as fully as it can be. So we come down to the inevitable
jucl — a question tabled in the House of Commons, designed to
■p the departure ot a picture, which must be considered a nation-
heritage, for no other reason than the fact that somebody or
ne body gave £798,000 lor it. What does it matter that, five
vs after the sale of Titus, the Wenner-Gren Rembrandt, Saskia
Minerva, was sold by Sotheby's for no more than £125,000;
nigh a better-painted picture and certainly better-preserved
in the Titus. The only reason for the Saskia fetching perhaps no
>re than treble its value of fifty years ago and less than half of
it in terms of real money, is that Titus looks the cutest little boy;
lile his mother, in 1635 at any rate, looked to our decadent
dons like a fat Dutch cook. And so the best of reasons for
/ing Titus for the nation.

If the 'Friends' had rushed in, the question will bethesame asinall
evious rescue operations. Do they inanydegrcewhateverhelpto
ucate the public in the genuine appreciation of art ? It seems that
cause they cost £800,000 and £500,000, the Leonardo cartoon
d the Cezanne bathers attract many more times the number of
sitors than any other picture in the National Gallery. Would it
>t, then, be safer for the pictures to be locked up and better pub-
ity to exhibit in their place cheques, six feet by eight, to be
imed and hung after the former owners have cashed them:
The other proposition? Here are two works, neither of them
sy to appreciate: the cartoon, in its fuzzed and browned con-
tion, is so 'difficult' that when it was hung at one of the Royal
cademy's winter exhibitions hardly anyone went near it;
hilst the Cezanne has been an object of controversy all its days,
must then be justification enough of the powers of publicity
at hordes of people can be induced to look at such works. The
hievement may even be cheap at the price, for if a Rembrandt
worth £800,000, there is no reason why the best of Cezannes
lOiild not be worth £500,000.

With both propositions in view, let us approach the shrine, the
irtain-hung (Impede ardente where Cezanne's bathers hold state.
.ere are the worshippers, standing rapt and with bowed heads
ke the figures in Millet's Angelus. An academic painter, un-
listakably white-whiskered and bow-tied, comments too
idibly on the feebleness of the drawing. The worshippers,
■trite respectably dressed and not at all arty, respond with a
nouldering fanatical glare. This is not a picture but a divine
/mbol. Let them but get the infidel in the forecourt of the
losque and they will stone him.

Yet once upon a time the Mullahs would have told them that
ley were looking at the wrong Cezanne and that was in the
920's, the very bliitezeit of Cezanne worship, before it became
onfused by the veneration, accorded to two generations of
accessors. In England the chief Mullah was Roger Fry, the onh
iritish art-critic of the first half of this century whose words are
.ill read and are likely to continue to be. This is what he had to

say about the picture in 1927:

'For so many years Cezanne's fear of the model had deprived
him of all observation of nature that his power of conjuring up
a credible image to his inner eye, never remarkable, has by
now become extremely feeble. He is forced to fall back on
general ideas in order to construct his figures . . . those of us
who love Cezanne to the point of infatuation find, no doubt,
our profit even in these efforts of the aged artist; but good
sense must prevent us from trying to impose them on the
world at large, as we feel we have the right to do with the
masterpieces of portraiture and landscape.'
Nevertheless the bathers have been imposed on the world at
large and Roger Fry's good sense has not prevailed. He was per-
haps the last art-critic to dare to invoke good sense at all. This
blunt provincial forthrightness, so different from the squawky
hedging of his successors, was an honest expression of doubt
from a devotee. What Roger Fry could not foresee was that the
very feebleness of Cezanne's unhappy experiment would one day
become its challenge, a challenge all the bigger for costing half a
million; whereas at £5,000 it would not have been a challenge
at all. That seems to be the message of the Rescue Operation
pictures. From the £70,000 Ansidei Madonna of 1885 to the
£500,000 Cezanne of 1964 they have all been very large. The
Van Eyck St. Francis in Philadelphia, which is not much bigger
than a postcard, would certainly be worth a great deal over half a
million, if its acquisition was open today to the competition of
museums. But it would be very difficult to mount a rescue opera-
tion for such a picture in England. To make the purchase exciting
enough to attract crowds, the size-principle would have to be put
dramatically in reverse. They would have to reduce St. Francis to
the size of a postage stamp.

The disservice done to true art-education by these purchases is
not sufficiently appreciated. The public cannot fail to believe that
pictures, which cost so much and which are shown with such
special pomp, possess a virtue far above all other works in the
gallery. They cannot know that the greatest works were bought
in silence. That miracle of a picture, Piero della Francesca's
Baptism of Christ, was secured by Sir Charles Eastlake on his
holiday in Italy in 1861 for £241 10s. And it was not even a
bargain, having been bought at a well-puffed Florence sale, that
ot Matteo Uzielli who himself bought on the advice of an English
critic and dealer, J. C. Robinson. There are no more Piero della
Francescas to be had at any price, but there are minor opportunities.
The National Gallery's Jerome Bosch is less than first rate, and
yet a magical little Jerome Bosch was allowed to leave Sotheby's
last year at £35,000. When there is a Welfare State to be milked,
with hundreds of thousands, even millions to be had for the
asking, an item at £35,000 is not worth thinking about. Those
hundreds of thousands, or millions, should not be allowed to
corrupt judgement and good sense. They might for instance be
spent on showing some of the National Gallery's huge reserve
collection. And it would be money well spent if it keeps the
trustees out of the entertainment industry. — Gerald Reitlinger.

69

At the Villa Millbrook-1

Jersey's finest collection -

belonging to Mrs. Dorothy Hart CLIFFORD MUSGRAVE

THE collections of Mrs. Dorothy Hart have been well-
known internationally over a number of years amongst a
wide circle of connoisseurs, collectors, curators and other art-
lovers. Always the special essence of the collection has been that it
was created under the impulse of making a home, and its charac-
ter has been moulded by the atmosphere of each of the houses in
which it has been formed, as well as by the personal qualities of
its owner. The collection first came into being when the late Mr.
Geoffrey Hart, a well-known financier, and his wife were creat-
ing their home at Wych Cross in Sussex, in the heart of Ashdown
Forest. It was then adapted to the scale and character of a large
Elizabethan-style country house with palatial galleries and many
other large rooms, where the pictures, furniture and objects of
art enhanced the setting for entertaining on a grand scale.

After the untimely death of Mr. Hart in 1946, Mrs. Hart
moved her possessions to her London house at 9 Hyde Park
Gardens, where the collection took on a fresh quality that derived
from the surroundings of a house in the classical traditions of the
late Regency. Here was still retained the magnificently rich
Flemish and Netherlandish room, and a graciously elegant
eighteenth-century English drawing-room was now created,
hung with blue-grey silk.

A small cabinet-room in the Dutch tradition was devoted to
the smaller Netherlandish paintings of which Mrs. Hart had al-
ways been especially fond, and was appropriate in scale to their
intimate character. Over four storeys of the house the splendid
collection extended itself and it was the scene where at a number
of dazzling receptions most of the leading personalities in British
connoisseurship were to be met.

A few years ago considerations of Mrs. Hart's health made im-
perative a move to the Channel Islands, and a fresh setting for the
collection had to be found. After several disappointments that
turned out to be providential, a house was offered that could
hardly have been improved upon had it been designed especially
for the purpose, both as a home and as a repository for works of
art.

The stone-built Jacobean house, with constructional features in
the reticent and simplified late Gothic domestic style, has for
centuries remained one of the most satisfactory formulae for
house-building ever devised, and for this reason it has been
effectively revived in Regency and Victorian times by such
architects as Nicholas Salvin, and again in the early years of the
present century. The Villa Millbrook at St. Lawrence, Jersey, is
one of the most pleasing examples in modern times of this
eminently satisfying style. Originally built for Sir Jesse Boot
(later Lord Trent) it stands on a grassy plateau at the head of a
stretch of lawns sloping gently down to the sea.

Internally the house admirably satisfies the demands, both for
intimacy and for grandeur, of a collection such as Mrs. Hart's.

The Entrance Hall is spacious, and, now that the dark oak

1. The Villa Millbrook: south front. The modern version of the stone-bui!
Jacobean house with its robustly satisfying form, convenient arrangemen
of rooms and large windows is one of the most successful formulae fo
house-building ever devised. The pink granite Jersey stone imparts th
additional charm of colour. The entrance is to the right. The flattenei
Gothic arch shelters the garden porch. Bronze figures of Greek athlete
flank the terrace steps.

panelling has been treated to give it a lighter colour, forms ai
ideal background for the smaller Dutch paintings. These includi
one of the characteristic river and canal scenes by Jan van Goyei
(1 596-1656), one of the most important of the realistic school o
Dutch landscape painters, expressing the artist's characteristic
contemplative treatment of the Dutch scene in an almost mono_
chrome scale of muted colour. There are here also landscapes b)
Salomon van Ruysdael, and by Denys van Alsloot (c. 1 570-1 626) (
fascinatingly animated skating scenes by Aelbert Cuyp (1620,
1691), Esaiasvan de Velde (1590-1630), and Nicholas Hals (1628
1686); a still-life by Bartolomeus Assteyn (1607-1667), sea am
canal scenes by Willcm van de Velde (c. 1610-1693), and ai
enchanting tiny portrait head of a little girl by Rembrandt'
pupil, Gerard Dou (1613-1675).

Beneath the pictures are ranged a number of importan
articles of English and Spanish sixteenth- and seventccnth-ccntun
furniture, of which a very tine English sixteenth-century ches
with Gothic carving, a small semi-circular early seventeenth-
century side-table, a sixteenth-century parquetry table fron

70

The Entrance Hall. The warm friendliness of Mrs. Hart's home strikes
le visitor immediately upon entering, especially at night, when Nathaniel
.one's brilliantly colourful portrait of a boy calls to one from the end of
le vista. To the left can be seen a fine bracket clock by Charles Gretton
1. 1660) standing upon a sixteenth-century parquetry table with columnar
lpports, believed to have come from Nonsuch Palace. Around are hung
lany of the small Netherlandish paintings which are such a distinctive
?ature of the Hart Collection, by Jan van Goyen (1596-1656), Salomon
an Ruysdael (1602-1670), Aelbert Cuyp (1620-1691), the Van de Veldes,
!aspar Netscher (1639-1684), and many others. Upon the stairs the contem-
lative face of Sorgh's young Dutch girl at the virginals holds the eye.

;. Girl at the Virginals, by Hendrik Martinson Rokes Sorgh (1621-82),
5anel 50 ■ 36 inches, signed and dated 1648. This appealing picture of
1 richly dressed Dutch girl, exploring the moods of contemplation
;voked by random chords struck upon the virginals is not only one of the
nost important but one of the most beautiful and moving works in the
Hart collection. The instrument itself survives and is preserved at the
Rijksmuseum, Amsterdam.

71

4. The Dining Room. This is arranged as a sixteenth-century room, with
furniture, pictures and carvings of that period. The stone chimneypiece is
ancient, with fine carving of dragons in the frieze, and human heads in the
capitals of the supporting columns. The fireplace is flanked by a pair of
German sixteenth-century Gothic figures of angels carrying candles, and
above is a Flemish carving of the Nativity, probably once a panel in a
cathedral door. Above the serving-recess and the door are two of a set of
alabaster carvings. The painting in the recess is a Dutch skating scene by
Adam Breen (c. 1611).

5. The Drawing Room chimneypiece. Above an elegant white marble
Louis Seize fireplace with ormolu mounts hangs a painting by J. B. Oudry
(1686-1775), its brilliant colours glowing against the walls of duck-egg blue.
The painting is remarkable in expressing a realistic view of landscape
hardly met with until the time of Courbet, a hundred years later. The fire-
place is flanked by a pair of superb carved and silvered early-Georgian
stands. In front is an exceptionally fine early Louis XV carved and gilt stool.

Nonsuch Palace, and an interesting group of late seventeenth]
century carved chairs deserve special mention.

A dining-room, boudoir and drawing-room of moderate siz|
provide for the needs of a small household and for private enter j
taining. The Drawing Room is an exquisitely gracious room oj
eighteenth-century character with pale apple-green walls ana
hangings, and French and English furniture and pictures. A largJ
oak panelled vaulted room, once a grand dining-room, offeree!
itself admirably as a new Flemish Room, where the magnificent
works by Joachim Patinir, Jacob Cornelisz van Oostsanen and
Herri met de Bles are seen at their best against oak panelling anJ
amid oak furniture of the sixteenth and seventeenth centuries
This room, together with a splendid great barrel-vaulted Musi
Room, provides amply for the larger works of art and for enter
taining such groups as the Channel Islands Museum Associatioi
for which a reception was held at the house last year.

In making the change to entirely different surroundings, ever
picture, every article of furniture, every object of art has had t<
come under fresh and penetrating scrutiny. The result is that th
essential qualities of Mrs. Hart's collection have becom
heightened and the whole given a fresh sense of unity and har
mony. At the same time it is not merely a case of a static collec
tion being rc-deplovcd. It is continually being infused with fresl
vitality and beauty from new acquisitions, notably in the las

72

The Drawing Room, looking out across the gardens to the sea. The ex-
uisite elegance of this room with its duck-egg blue walls typifies the per-
:ct taste with which the furniture and pictures at the Villa Millbrook are
rranged. Above the fireplace hangs the highly romantic landscape by J. B.
)udry. Flanking it are a pair of unusual early-Georgian gilt frames con-
lining embroidery. Beyond is the engaging portrait of a young French
oy by J.-B. Charpentier.

8. The Dining Room: looking out upon the garden. In the window-bay
stands an extremely fine sixteenth-century table with bulbous legs. The
leaf-carving and gadrooned moulding of the frieze are classical elements
interpreted with the bold vigour of the Renaissance style in England.
Adjoining are two of an interesting group of seventeenth-century child-
ren's chairs. To the left of the bay appears one of two remarkable court
cupboards of the early seventeenth century, with bulbous supports and
rich carving of arcade and flower design. The cupboard doors are unusual
in having floral marquetry decoration. The portrait of a lady in lace cap
and ruff is by Paulus Moreelse (1570-1638) and that of the man by Michael
Mierevelt (1567-1641). Upon the late sixteenth-century carved dining-table
may be seen some exquisite engraved wine-glasses bearing the crown and
monogram of the Empress Maria Theresa of Austria (1717-80). They are
unusual in being of oval shape.

The Flemish Room. The richness of the fifteenth-century Flemish
riptych is emphasized by the panelled background. It is ascribed to Joos
an Cleve (c. 1494-1540 1) or to the more elusive artist Herri met de Bles
f. 1480-1550). To the right, a remarkable sixteenth-century German Gothic
arved figure of the Virgin and Child is flanked by Chinese jade urns and a
>air of T'ang horses, forming a successful instance of the harmony under-
ying works of art of the finest quality regardless of period or country of
>rigin.

7^

76

The Boudoir, looking west into the garden. Here the pictures are all
ill English landscapes, by Paul Sandby (1725-1809), Richard Wilson
12-82), and conversation pieces, of which can be seen (1. to r.): Delicate
barrassment, or the rival friends by George Morland ; The Fisherman's
feby Francis Wheatley (1747-1801); and Morning Employments by H. W.
nbury (1750-1811). A charming Regency bookcase with bowed front is
iked by Chippendale chairs with needlework covering. In its eighteenth-
tury character this charming little room serves as a transition from the
|y furniture and pictures of the Hall and Dining Room to the elegance
he French and English Drawing Room.

The Drawing Room. The intense human appeal of many works in Mrs.
rt's collection is well exemplified in the paintings of children, which are
pecial feature of this room. Seen in the photograph (1. to r.) are: The
ten Boy by Nathaniel Hone (1717-84); Hone's Girl with Roses ; and Little
rl with Dog by J. B. Greuze (1725-1805). In the centre of the wall is a fine
•ly Georgian gilt mirror with a gilt side-table of the same period be-
ath. Flanking it are a pair of painted Sheraton armchairs. Before the
imneypiece stands an early Louis XV carved gilt stool. The carved
ihogany Chippendale tripod table to the left is again a splendid example
its kind.

. A group in the Drawing Room. The early Georgian side-table, the
.eraton chairs and the Louis Seize picture again demonstrate how fine
jrks of art of any country or period can be harmoniously combined in
e same interior. The picture of an unknown lady in a powdered wig is an
quisitely beautiful and delicate work by F.-H. Drouais (1727-75), a pupil
Carl van Loo, Natoire and Boucher, and who painted many members of
e French court, including Madame la Pompadour herself. The gilt side-
ble, of about 1720, is in the manner of James Moore, who supplied im-
irtant gilt furniture to George I.

I 2. A corner of the Drawing Room. A delightful group is formed by the
wo French pictures and the Empire secretaire, an unusual piece of about
805 in flame mahogany, the upper part with a grey marble top, a frieze
ilaid with classical figures and emblems in rosewood, and with female
j lassical term figures as supports, the heads and feet of carved wood, paint-
j das bronze. The lower stage is backed by mirror-glass, and has supports in
I he form of winged sphinx monopodia. In Marguerite Gerard's charming
I minting above, The Letter, appears a chair with similar winged sphinx
I upports. To the right hangs Nathaniel Hone's Red Boy. Upon the top of
j he secretaire stands ajar of milky-green Chinese jade.

7*

A Queen Anne tray-table, carved and silvered, with separate silver tray.
/ered tables were popular after the Restoration and in the early eight-
th century. The present example is distinguished on account of its
cent shape, and is unusual in preserving its original separate tray.

The Letter by Marguerite Gerard (1761-1837), oil on panel, signed. This
ightful conversation piece of about 1805 typifies the rather severe
isical style of the official school of David after the Revolution in France,
tened by an infusion of charm and galanterie deriving from Fragonard,
ose pupil the artist had been. The winged sphinxes of the armchair are
lilar in style to those of the secretaire which stands below the picture,
e girl's dress is of shimmering yellow satin, brilliantly painted, and pro-
es a pleasant example of the character of woman's dress during the
ipire.

The Green Boy by Nathaniel Hone (1717-84), oil on canvas, 24 20 inches,
ned and dated 1782. Hone was an Irishman. Although he was self-
ght and quarrelled with his great rivals in the realm of child-portraiture,
Joshua Reynolds and Angelica Kauffman, he fell little short of the one
! far exceeded the other in his skill in this particular sphere. His 'Green
y' is brilliantly smart in his green coat, black hat with feather plume,
1 white vest. Hone has added to this a wistful charm of expression that
:s far deeper than many conventional portrayals of childhood.

.4 little girl with roses by Nathaniel Hone (1717-84), oil on canvas, 24 X 20
hes, signed and dated 1782. A little girl with an armful of flowers was a
tventional subject in the eighteenth century, but the artist has endowed
s delightful work with his own individual insight, conveying the true
uralness of the child's action, and completing the delightful effect with
delicious little round hat with feathers which the child wears.

I Boy in a red coat by Jean Baptiste Charpentier (1728-1806), oil on canvas,
I X 20 inches, signed. This engaging portrait well expresses, by contrast
th the child portraits of Nathaniel Hone, the differences between not
ly the French and British temperaments, but between the two attitudes
art. On the one hand preciseness and sophistication compared with
y-going informality and spontaneity, and on the other meticulous
ruracy of technique expressed in the painting of the features and coat set
iinst loose handling of paint with expressive free brush strokes. Yet in
s delightful work the essential happy spirit of childhood is no less fully
nveyed. The blue collar, set against the red of the coat and the white
ivat is a masterly feature.

A Louis Seize armchair, carved, gilt, and painted white with tapestry
vering. This handsome chair is one of an important neo-classical type
pearing in France about 1770. Oval backs had been introduced some five
ars earlier, but they were now combined with tapering, spirally-fluted
;s as in the chairs made by Delanois for Madame du Barry's Pavilion de
uveciennes in that year. This example bears the stamp of P. Brizard
•ceived as master in 1772). The chair was one of a set in the apartments of
aeen Marie Antoinette at Versailles, and was given by the Queen to a
ly-in-waiting, Madame Majolier,on leaving the palace for the last time,
was given to Mrs. Hart by a descendant of Madame Majolier.

?ar or two by the addition of eighteenth-century French and
uglish portraits, especially of children. It is thus that Mrs. Hart's
election continues to reflect the tastes of a collector whose eager
ithusiasm and love for the art of the past have been fortified by
;rception and discernment.

In the present article the exterior of the house, the Entrance
tall, Dining Room, Flemish Room, Boudoir and Drawing
00m are described. The description of the Flemish Room will
: continued, and the Music Room described in the second
•tide to be published in the July number.

79

The Mannerist Goldsmiths: 4

England. Part 1
The Holbein designs

GOTHIC ornament long persisted in the applied arts of
sixteenth-century England, and the impulse to adopt a more
modern style in keeping with contemporary development on
the Continent came from the Court, perhaps from King Henry
VIII himself. Whereas Francis I had brought Italian artists to
Fontainebleau, the English king relied, as far as designs for plate
and jewellery were concerned, on a Northern master, Hans
Holbein. The story of the introduction and spread of Mannerist
ornament in England begins with this Augsburg-born artist,
who first came to England for two years from 1526 to 1528,
returned in 1532 and remained until his death in 1543. He re-
ceived regular payments from the court from 1534 and continued
a court servant for the rest of his life. Of the considerable quantity
ot goldsmiths' designs by Hans Holbein surviving1 only a few
can be attributed with certainty to his English period, and most
of these were executed for the court of Henry VIII. In discussing
Holbein we are concerned only with the eleven years of his
second period of residence.

Though Holbein himself was of south German origin, some of
his designs were probably executed by a Flemish goldsmith,
Hans von Antwerpen, whose name appears frequently in
Thomas Cromwell's Book of Payments in the anglicised form of
John of Antwerp.'2 John of Antwerp came to England as early as
15 1 1 and he was still active in the last year of Henry's life, 1547.
The latest reference to him so far discovered dates from 1550
when the birth of a son was registered in the parish church of St.
Nicholas Aeon, London. Holbein must have stood in close re-
lationship to John of Antwerp, for not only was he one of the
witnesses of Holbein's will but his portrait was painted no fewer
than three times by the master.3

What appears to be the earliest of the drawings of goldsmiths'
work done by Holbein in England (No. 1) was intended for his
Flemish friend, for, running around the edge of the cover is the
inscription Hans von Ant (wcrpen). As was usually the case with
Holbein's designs for goldsmiths, only half the design was
executed and the right half has been completed subsequently by
folding the paper and taking a mirror impression (Abklatsch).
Whether the design was commissioned by his friend or was a
present from Holbein to him is not, of course, known; nor do
we know whether the cup was to have been made by the gold-
smith for his own use. Goldsmiths were often wealthy men in the
sixteenth century and it is not impossible that a man who was
regularly employed by the court might have been able to display
so splendid a piece on his cupboard.4

The design of the Hans von Antwerpen cup is not particularly
progressive for its presumed date, that is about 1532. It is, indeed,
merely a more elegant and sophisticated version of the font-
shaped cups of which a number survive dating from the second
quarter of the sixteenth century. The most similar is a cup, now
on loan in the Victoria and Albert Museum, bearing the London
hall-mark for 1529/30 and some two to three years earlier than
Holbein's design. On the other hand, quite clumsy versions of

J. F. HAYWARl

I. Drawing of standing cup and cover with three alternative versions c
the finial. Hans Holbein, London, about 1532 4. The inscription 'Hai
von Ant (werpen)' refers to his friend, the Antwerp-born goldsmith of th(
name. Offentliche Kunstsammlung, Basel. t

the font-shaped cup were still being produced as late as the mid
century: e.g. that of 155 1/2 in the parish church of Dean
Hampshire.5 While the form of the Hans von Antwerpen cu
was not unfamiliar to contemporary eyes, the Renaissanc
ornament of the two bands that surround the foot and brill
respectively can hardly be paralleled amongst the survivin
examples of English goldsmiths' work of the first half of tr
sixteenth century. The typical Renaissance elements of acanth^

80

:. Above. Pen and wash drawing of a standing cup and cover of gold
nounted with diamonds and rubies. Hans Holbein, London, about 1534.

j. Right. Drawing of a table fountain, the bowl decorated with the
levice of Queen Anne Boleyn, the cover surmounted by a royal crown,
-fans Holbein, London, 1534. This vessel was given to Anne Boleyn as a
Vew Year's Gift in 1534. Oflentliche Kunstsiimmlungen, Basel.

1 oliage, dolphins, female terminal figures and naked boys are
I .ombined to form a harmonious and rhythmically flowing
I jattcrn.

It has been suggested that Holbein may have returned to
England 111 1532 via Lyon and Fontaineblcau and there have
earnt the possibilities of both Mauresque ornament and of the

, strapwork cartouches, in the design of which such ingenuity was
invested by the Fontaineblcau artists. These features do not

I ippear in his earliest designs, but Mauresques play an important

*role in the design of the gold cup given by Henry VIII to Jane
Seymour in 15 36." Amongst Holbein's more conservative
designs is that of a covered bowl (No. 2). The drawing, which is
coloured, shows the gold bowl set with diamonds and rubies
alternately. There is nothing about the design that might indicate

; a royal commission, but it seems not unlikely that it is a prelimin-
ary design for No. 45 in the 1574 inventory of the royal plate of
Queen Elizabeth. At this time there were only ten covered cups
made entirely of gold in the royal treasury, and none of the
others bears the least resemblance to that drawn by Holbein. The
bowl is described in the inventory as follows :

j 45 Item oone proper Bolle of golde the bryme of the foote parte

enamehd blacke the bolle having in the middest a faire squarid
Diamounde with a pointe set in a Collet of golde The Couer
wrought with braunches of trees knit together and therein are
set six rowes of Diamoundes being in noumbcr fourescore and
sixtcne Diamoundes having within the Couer a woman pictured
the head and Shoulders graven in a Camew and thrc Lozanged
Diamoundes set in Collettes of golde parte of the knoppe of the
couer set with nine Diamoundes 111 collettes of golde and a Roose
of Diamoundes vpon the knoppe poiz togethers xlvj oz. dim.

This is probably the same vessel that was shown to Lupoid
von Wedel when he visited the Tower on 14.xi.1584, when he
described it as a 'vessel set with nothing but large diamonds, on
the lid were two hundred, the others could not be counted'.
The bowl was presented to King Christian IV of Denmark
in 1606.

While the six rows of diamonds on the cover and the 'braunch-
es of trees knit together' can be recognised in the drawing, there
is no sign of the black enamel border on the foot and the knop of
the cover seems to have been set with more than nine diamonds.
Furthermore the drawing shows diamonds alternating with
rubies whereas the finished bowl was set only with diamonds.

Si

4. Rock-crystal bowl with enamelled gold mounts set with precious stones.
On the foot and cover are enamelled plaques with inscriptions in favour of
wine and sobriety respectively. Designed by Hans Holbein and made for
Henry VIII about 1540. Munich, Schatzkammer der Residenz.

However, such discrepancies might easily exist between a design
and the vessel as completed by the goldsmith. No drawing of the
interior with its cameo in the cover and a 'faire squarid Diamoundc
with a pointe' in the middle of the bowl exists to show us how it
might have looked.

In this case Holbein was evidently called upon to provide a
vehicle for the display of a large number (at least three hundred)
of diamonds, and there was little excuse for indulging in orna-
ment in the newest taste. While this bowl is so unenterprising in
its design, the next piece in date — the great table-fountain given
by Henry VIII as a New Year's Gift to Anne Bolcyn in 1534 —
seems to belong to another epoch altogether. Two designs by
Holbein for this piece survive, one showing the basin and foun-
tain together, 7 the other (No. 3) the fountain only. There are
considerable differences between the two designs but the version
finally produced was evidently based on the one illustrated. The
1574 inventory describes the fountain as follows:
998 Item oone Basone of siluer guilt the border railed with golde
and set with stone and pearle in collettes of golde standing in the
same a Fountaine and thre women parte of them being Copper
water runnyng owte at ther brcstcs with two borders of golde in
the Fountaine lacking oone Roose of garnettcs in the nethermost
border with a plate of golde in the toppe of the Coucr with the
Quenis Amies and Queue Amies therein poiz together

cccxxxij oz.

In this table fountain one can for the first time recognise whv
Holbein was chosen to design vessels for Henry's court, for it
shows familiarity with the most up-to-date Flemish fashion and is
at least ten years ahead of the work of his German rivals, such as
Albrecht Altdorfer, Hans Sebald Beham or Hans Brosamcr. The
design of the fountain, with its figures of satyrs supporting the
rim and resting on straps, which spring free from the body of the
cup before curling over and ending in split volutes attached to a
girdle engraved with arabesques and set with medallion heads,

anticipates some of the typical features of Antwerp silver of the
next decades.

The alternative design, which is far more elaborate, shows \
wide basin standing on winged harpies from which the fountah
rises up wedding-cake fashion in four tiers. At the top is a figur;
of Jupiter enthroned holding a thunderbolt; the satvrs whicl
appear on the other design are here continued upwards above
the brim of the bowl and terminate in female winged figure!
bearing baskets of fruit on their heads, a detail often found it
Antwerp silver of this period. Each of the tiers is adorned wit!
numerous figures, and had this design been executed and had th<
vessel survived, English goldsmiths' work of the sixteentl
century would have been represented by a piece worthy o|
comparison with the Cellini salt.

It is tempting to speculate whether Holbein's friend, John oi
Antwerp, had a part in making this fountain in the design 01
which Antwerp features arc so prominent. If he did, no recoro
survives, for his name does not appear in the royal accounts unti
the late date of April, 1539, and then only in respect of a pay men
to him for carrying dispatches for the king to Germany.8 He wa
working for Thomas Cromwell, the Lord Privy Seal, from 1531
and received ^5-12-4 in January, 1537, for New Year's Gift
supplied to Cromwell. During the following two years frequen
payments were made to John of Antwerp on behalf of Cromwel'
for work carried out for him. Most were of little importance; aj
might be expected, one of the biggest commissions given to th<
goldsmith was in respect of a gold cup offered by Cromwell td
the King as a New Year's Gift in 1539. For this John of Antwerp
received 52 ounces of gold and -£12 in November, 1538, and I
further £,7-7-0 on 8th January, 1539. Another importan)
commission was in respect of a laver and a trencher of gold
weighing 51 ounces costing 4 shillings per ounce for which h<
was paid 100 Marks on 29th November, 1539.

It is not surprising to find that it was Thomas Cromwell whe
signed a letter of recommendation dated 9th April, 1537, t(
the Wardens of the Goldsmiths' Company requesting the ad!
mission of John of Antwerp to the Freedom of the Company.
The letter states that John seeks the liberty of the town, bin
thinks it would be better to be first admitted a member of th
Company in view of his long abode here, namely for 26 yeard
and because he is married to an Englishwoman, has mam
children and proposes to live here for the rest of his life. It seem
surprising that a foreigner such as John of Antwerp should hav<
been able to practice his trade in London for so long withou
becoming a freeman of the Company which controlled it. In an}
case he was admitted on 27th September, 1537. His name appear
from time to time in the Minute Books of the Company
usually with reference to infringements of the Company'
regulations. In 1528 four of his employees were admitted aj
freemen of the Company;10 on 25th October, 1529, along will
three other Dutchmen, he was ordered to bring sureties to deliver
all gold and silver brought to him to work, or else to keejj
neither shop nor work-house. The purpose of this was presunv
abb' to ensure that he did not re-fashion old plate and return it w
the owners without submitting it for marking. This practice
which was at various times, especially after the Restoration a
Charles II. rather prevalent, is responsible for most of the un-
marked antique plate that still survives. In November, 1530
another goldsmith brought a complaint against him, but th,
most serious incident was on 6th November, 1536, when he wa'
sent to the Compter (prison) for putting Andrew Pomert,
stranger probably of Flemish origin, to work without a testi
monial.11 It may have been this incident that induced him to seei
to regularise his position by becoming free of the Company, f

82

tea

t'tr

After 1539 when he was working for Cromwell and made a
rip to Germany with dispatches, we hear no more of him until
Uigust, IS4.S, when he was sent with two others to prospect
or mines in Ireland.12 Finally in r .S47- the very year of Henry's
loath, lie and Peter Richardson received the considerable amount
•,f 80 ounces of gold, worth ^188, though for what purpose
not specified.13 Nearly all the references to John of Antwerp
jfintion the use of gold and jewels. We may, therefore, assume
lat he was as much a jeweller as a worker of wrought plate,
hough like any other craftsman he was doubtless prepared to
ccept commissions for work of all kinds connected with his
radc.

One of the most important commissions executed by Hans
folbein for Henry was the great jewelled gold cup that was
>robably given by the king to his third wife, Jane Seymour, on
heir marriage in May, 1536. Both the preliminary sketch and
he final drawing for this cup survive and it is the best known and
aost frequently published of all Holbein's goldsmiths' designs.
The proportions of this cup, its logical and well-ordered com-
position belong to the Renaissance, but some of the features of
he ornament point towards the future. The band of mauresques
iclow the lip ot the cup was probably the first appearance of this
particular ornament 111 English goldsmiths' work.

The first pattern book of mauresques had been produced by
:ranccsco Pelegrino, an Italian artist who joined the Italian colony
:t Fontainableau in, or before, 1528 and worked as one of Rosso's
issistants. His designs were offered in the first place as patterns for
anbroidery and were published in Paris in 1530 under the title
flair de la science de broderie, facon arabicqne et ytalique. It was
lot until 1 548 that a pattern book of mauresques was published in
England. This was Thomas Geminus' Moryssc and Damashid
Wiewed and increased — Very profitable for Goldsmythes aim
mibroderars; in fact, not a new publication but a pirated edition
if a pattern book by Jacques Androuet Ducerceau. At least a hint
if the Rollwerk and strapwork exploited so imaginatively by the
I -ontaincbleau masters can be recognised in the treatment of the
hield for the royal arms which is supported by two winged putti
it the top of the cup. This has a complex profile with rolled over
■nds. This magnificent cup was melted by order of Charles I in
October, 1629, and the gold sold to the Bank of Amsterdam.14

Of more advanced design is the gold mounted rock-crystal
;overed bowl (No. 4) from the treasury of Henry VIII which is
low in the Munich Schatzkammer. This piece, the full history
T which I have published elsewhere,15 is undoubtedly the most
niportant surviving example of Tudor goldsmiths' work. This
vessel is to be found in all the Jewel House inventories from 15 50
.intil 1649, when it was sold by order of the Commonwealth
Commissioners, probably to an Amsterdam dealer. It is described
is follows in the 1574 inventory :

57 Item oone Bolle of Christall the foote and bryme garnisshed
with golde the foote also sette with thre smale Diamoundes and
sixe pearles and cartaigne writings in thre places vpon white
si; lenamelid vpon the brym therof is cartaigne Antique worke of
golde enamelid wherin is set a goodly Rubie and an Emeraude
in collettes of golde being very curiously wrought and garnisshed
with fyve roses of Diamoundes and v places written enamelid
white the top of the cover being a Christall and golde garnisshed
with a Rubie and a Diamounde an Emeraude and thre perles in
the top of the same is two pearles in oone and oone greate pcarle
lower set in golde and thre smale pearles pendaunte at the same
poiz togethers xxxviij oz. iij quarters.

In its present condition the bowl no longer corresponds exactly
to this description; at some time it has lost the delicate finial of
gold with pendant pearls that once crowned the cover. This is

n

5. Detail of painting by Willem Kalf showing the rock-crystal bowl in
No. 4 with its original finial. Statens Kunstmuseum, Copenhagen.

6. Detail of the cover of the rock-crystal bowl showing crystal roundels
and panels enamelled with inscriptions.

83

i

7. Detail of lower side of the enamelled gold handle of the rock-crystal
bowl.

shown in a still— life by Willcm Kalf painted in 1678 (No. 5).
Although no drawing for this bowl survives amongst Holbein's
sketches, there are two separate grounds for thinking that he was
its designer. Firstly, when Kalf included it in his still-life, he must
have been told that it had been made by Holbein, for in place of
one of the inscriptions referring to the pleasures of drinking on the
three panels around the foot, he has inserted the signature
Holbeen Fe. Furthermore, when the bowl passed, presumably by
purchase, to the treasury of the Elector Palatine, the inventory
description, prepared in 171 1, 16 stated that the vessel had been
designed by Hans Holbein and made by his brother, the Gold-
smith. The latter statement is manifestly incorrect, as Holbein's
brother, Ambrosius, was not a goldsmith and had died in 1526.
Since the design of the bowl is such that it could well have been
made for Henry VIII during the years when Holbein was his
court designer, there seems no reason to doubt this ancient tra-
dition.

It must, however, be a work of Holbein's last years, probably

not before 1540, for many Mannerist features can be recognisec
in it. The first to be noticed is the use of a mediaeval crystal bow
as its foundation. As has been pointed out in a recent study or
English goldsmiths' work of the sixteenth century,17 the Disso^
lution of the Monasteries and confiscation of their treasures hac
led to the destruction of a great many mediaeval rock-crystal
vessels which, though often of secular origin, had been converter
to ecclesiastical use as reliquaries. The precious metal mounts o.
such vessels were removed and melted, but the rock-crvsta
elements were sometimes remounted. The five circular roundel
that are set in the cover of this bowl (No. 6) could also have comd
from a reliquary. Such panels were indeed necessary in i
reliquary to enable the faithful to have a sight of the precioul
particle.

Apart from the use of rare and antique material, anothe;
Mannerist characteristic is the wilful ignoring of function in it
design. The towering finial was evidently so delicate that it brok<
off when used to lift the cover and so became lost. A mor<
peculiar feature is the spout-like projection on the side of the rinj
mount (No. 7); this can only have been intended to serve as i\
handle, but is so short and stubby that it could not be used foi
this purpose. The ornament includes various features that havd
been noticed already as characteristic of Mannerist goldsmiths
work. The cartouches in white enamel on the cover extolling lh<
virtues of sobriety are set against a background of maurcsque:
and have the familiar rolled edges. The curious compositions iij
enamelled gold and jewels (No. 6) which occupy the space'
between the rock-crystal roundels, also on the cover, display th^
confused association of architectural and human elements sdj
often found in Mannerist art. Finally, every available space i|
covered with profuse decoration.

Holbein's design for this bowl must have been executed before'
1543, the year of his death, and it would presumably have beerj
carried out without delay. The high degree of fashion achievec
at Henry VIII's court will be appreciated when it is recalled thai
just about the time that this masterpiece of Mannerist art war
being made in England, Benvenuto Cellini was working ir,
Paris on the completion of his famous salt-cellar for king
Francis I.

NOTES

1 The complete series are reproduced by P. G.inz: Die Handzeichnungen Han!
Holbeins. Basel, 1937.

2 Extracts are published in Letters and Papers of Henry I'M, Foreign and Domestic
Vols. 12-14, London, 1887-1895. His name also appears in the lists of aliens resident
in the City of London.

3 The three portraits are reproduced by P. Gan2: The Paintings of Hans Holbein]
London, 1950. Cat. Nos. 62, 3, 4. It is pointed out that the identification is now
certain. The sitter is a Merchant of the London Steelyard, but in no case is anvl
accessory introduced which would indicate that he was also a goldsmith.

4 His house in the parish of St. Nicholas Aeon was assessed at £30 in 1537 and at'l
£20 in 1544. P.R.O. Lay Subsidy Rolls. E. 179/144/112, 123).

s Illustrated: Catalogue of Silrer Treasures from English Churches. Christie's, 1955J
pi. vii. 20.

6 Illustrated: A. J. Collins; Jewels and Plate of Queen Elizabeth, London, 1955J

p. 279.

7 Ganz: op. cit. cat. no. 219, ill. vi. 4.

* Letters and Papers of Henry I 'III, Vol. 14, Part II. p. 309, f. 71.

9 Goldsmiths' Company Minutes, Book F. p. 61.

10 Ibid. Book D p. 249 and 262. Their names, Jasper Mylde, Lucas Enover, Barthu(|
Mvller and Remvge Youge. seem to be of Flemish origin.

11 Ibid. Book F p. 42.

12 Letters and Papers of Henry I 'III, Foreign and Domestic, Vol. 20, Part II. p. 61 J
In the same month of August, 1545, John of Antwerp, along with the King's
principal secretaries and other officers of state, was exempted from certain penalities!
imposed on those who counterfeited the King's 'signe'. He had evidently cut i
new seal for the King. ibid. p. 122.

13 Letters and Papers of Henry 17//. Vol. 21, Part II. p. 405(4).
11 Collins: op. cit. p. 279.

15 The Burlington Magazine. April, 1958, 'A Rock-crystal Bowl from the Treasury
of Henry VIII', p. 120/4.

16 H. Thoma and H. Brunner: Schatzkammer der Resident Munchen 1964, p. 45/6. j

17 H. Tait. 'The Stonyhurst Salt', Apollo, Vol. LXXIX, p. 270/8.

84

(Florentine baroque bronzes in an
English private collection

HUGH HONOUR

TO judge by guide books to Florence, art would appear to
have come rather mysteriously to a halt at some date in the
late sixteenth century. Of course, it is only natural that visitors to
the city, overwhelmed by Ghiberti, Donatello, Michelangelo and
other great masters, should have eyes for little after the Re-
naissance. But the fount of Florentine art did not dry up alto-
gether and there were many seventeenth-century and later
Florentine artists of great accomplishment. It would be idle to
pretend that such full blown baroque extravaganzas as G. B.
Foggini's marble reliefs m the Corsini Chapel are as moving
aesthetically or momentous historically as the Masaccio frescoes
in the neighbouring Brancacci Chapel in the Carmine. But
Florentine artists of the late seventeenth and eighteenth centuries,
.■specially the sculptors, deserve much more attention than, is
generally accorded to them. Such bronzisti as Foggini, Massimi-
liano Soldani and Giuseppe Piamontini, for example, are parti-
cularly rewarding both for their own sakes and as heirs to a
tradition which stretches back by way of Tacca and Susini to the
brave days of the Renaissance.

Recently, a few discriminating collectors have begun to
acquire Florentine baroque bronzes. This initiative may have
been encouraged by the publications of Dr. Lankheit who has
done so much to put Florentine baroque sculptors back on the
art historical map.1 But works of art of high quality seldom go
out of fashion for long. They eventually return and receive the
recognition they deserve. For it should not be supposed that the
Florentine sculptors who are now creeping back into prominence
are — like many trivial quattrocento painters — inventions of our
own time. They were greatly admired by their contemporaries,
not only in Florence but throughout Europe. Massimiliano
Soldani, for example, was patronized by Louis XIV, Prince
Liechtenstein, the Duke of Marlborough,2 and Lord Burlington3
amongst others. Works by Foggini found their way to England,
Scotland, Spain, Germany, France, even India — though the latter,
it is true, were commissioned by the Grand Duke of Tuscany and
not by any Italophil Rajah. In 1714 he was asked to provide a
large statue of Queen Anne for London. Piamontini states in his
autobiography that he had sent sculptures to Prussia, London,
Scotland, and the Rhineland.4 Even after their deaths, in the
mid-eighteenth century when all works in the baroque style
were slipping out of fashion, Florentine bronzes of the seven-
teenth and eighteenth centuries were still in demand. In 1759 the
British Consul in Florence, Horace Mann, was trying to obtain
two bronze vases by Soldani for Bubb Dodington — a pair which
it is tempting to identify with those now in the Victoria and
Albert Museum5 — and was apparently prepared to pay the fairly
substantial price of five or six hundred Florentine crowns,
though not the seven hundred which the vendors declared that
they had originally paid to the sculptor.

Of the Florentine baroque bronzes now in England, two
groups and two reliefs in the collection of Mr. and Mrs.
George Farrow are of particular interest.6 All four are of the high
technical quality one has come to associate with this school and
are magnificent examples of the suave late baroque style of

I. Boreas and Orithyia and Pluto and Proserpine by Giovanni Battisia Foggini
(1652-1725), bronze groups each 54 5 cm. high, c. 1680-1690. Collection of
Mr. and Mrs. George Farrow.

2. The Rape of the Sabines by Pietro da Cortona, oil on canvas, 277 X 423
cm. f. 1626-30, Pinacoteca Capitolina, Rome. Foggini appears to have
derived his Pluto and Proserpine from the figures on the right of this
picture.

85

3. The Massacre of the
Innocents by Giuseppe
Piamontini (1664-1742),
bronze relief, 88-7 X 63
cm., c. 1690. Collection
of Mr. and Mrs. George
Farrow.

4. Detail of No. 3.

86

5. T/ic F.i// of the Titans by Giuseppe Piamontini, bronze relief 823 63 cm., c. 1690-1700. Collection of Mr. and Mrs. George Farrow.

Florence. At hrst sight their similarities are such as to make them
ippear to be by the same hand. But in fact they are by different
sculptors — the two groups by Foggini and the two reliefs by
Piamontini.

The groups represent two rapes: the one. Pluto and Proserpine
the other Boreas and Oritliyia. As Boreas was a wind god and
Pluto the god of the underworld, it may well be that they were
intended to have a secondary significance as allegories of two
elements, air and fire. Indeed, Boreas rests his foot on a cloud
while Pluto balances on flames (No. 1). A similar pair of bronzes
by Foggini is in the Galleria Nazionale d'Arte Antica, Rome. 7
These differ from the pair in the Farrow Collection in various
respects: most notably in that Boreas has wings instead of the
eddying scroll of drapery which so nicely balances that worn by
Pluto in the Farrow pair. Groups of these two subjects arc men-
tioned among the several models by Foggini in the inventory of
the Doccia porcelain factory.8 It is also worth recording that in
1729 a 'gruppo di Bronzo col Ratto di Proserpina di Gio.
Battista Foggini' and another 'csprimente Borea che rapisce
Orizia di Gio. Battista Foggini' were lent by the sculptor's sons

to the exhibition held at the church of the SS. Anmmziata on the
festival of St. Luke.9

Born in Florence in 1652, Giovanni Battista Foggini showed
an inclination towards the arts at an early age. He was appren-
ticed first to Iacopo Giorgi, a painter from whom he learned the
rudiments of design, then to a much abler and more interesting
painter, Vincenzo Dandini. But by the age of 13 he had already
begun to show that his talents lay in sculpture rather than paint-
ing. In 1673 he was sent by the Grand Duke to the new Florentine
Academy in Rome where he remained for three years, studying
under the sculptor Ercole Fcrrata and the painter Ciro Fern, a
faithful disciple of Pictro da Cortona. His precocious ability at
this period is demonstrated by a terracotta relief of the Slaying
of the Niobids, in the Musco dell' Opificio dellc Pietrc Dure,
Florence, and a fine bronze relief of the Crucifixion in the Musco
dcgli Argenti, Florence. After his return to Florence he soon
began to attract commissions for sculptures. The most important
was for the reliefs in the Corsini Chapel in the Carmine with
which he was occupied on and off until 1691. Immediately
afterwards he began work on the Feroni Chapel in SS. Annun-

87

6. The Fall of the Titans by Giuseppe Piamontini, marble relief, 204 cm.
wide, signed and dated 1705. Palazzo Ferroni-Spini, Florence.

ziata. In the meantime, in 1687, he had been appointed to succeed
Fcrdinando Tacca as the Grand Ducal sculptor; and in 1694 he
became, in addition, the official architect to the Grand Duke.
With these two appointments he was employed mainly on]
commissions for the Medici until his death in 1725. It therefore!
seems most probable that his various bronze groups were execut-
ed in the years between his return from Rome in 1676 and the;
early 1690's. Indeed, his biographer, F. S. Baldinucci, mentions
his 'gruppi e statuette c bassirilicvi di Bronzo di rara pcrfezionc'
between his descriptions of the Corsini and Feroni chapels. One
may therefore date the bronzes in the Farrow Collection to thq
decade 1 680-1 690.

In writing of Foggini's years in Rome, Baldinucci makes a
point of saying that he studied assiduously the works of Raphael
and Pietro da Cortona. 10 Just how assiduously may be seen byj
comparing his group of the Phito and Proserpine with the figures
on the right of Pietro da Cortona's Rape of the Sabines (No. 2).
It is from this picture and not, as might be expected, fromlj
Bernini's marble Pluto and Proserpine, that he derived inspiration'
for his two bronze groups. The influence of Pietro da Cortona is|
no less evident in the two reliefs by Piamontini, and one can find
several parallels for individual figures among the frescoes which'
Cortona painted 111 both Rome and Florence.11

88

The two reliefs represent The Massacre of the Innocents (Nos. 3
and 4) and The Fall of the Titans (Nos. 5 and 7). From a technical
point of view they are very remarkable indeed. Some figures arc
shown m the most delicate shallow relief while others are boldly
modelled almost in the round (the relief of The Tall oj the Titans
bulges out to as much as 14-5 cm.). They are indeed virtuoso
pieces of fir better quality than any of Piamontini's other bronzes
1 save that of The Death of Laokdon in the Bayeriscb.es National
Museum. Munich. Yet there can be no doubt about their
authorship. The Fall of the Titans is a bronze version of the
Signed and dated marble relief in Palazzo Ferroni, Florence — a
work which Piamontini mentioned with justified pride in his
IBtobiography12 and which the Florentine connoisseur, Nicolo
Gabburri, called 'stupendo'13 (No. 6). The bronzes in the Farrow
Collection are, therefore, to be identified with those which were
exhibited on the feast of St. Luke in 1724 at the SS. Annunziata,
and described in the catalogue as: 'Un Basso Rilievo di Bronzo
che rappresenta la Strage degl' Innocenti di mano del Sig.
Giuseppe Piamontini' and 'Un Basso Rilievo in Bronzo della
caduta dc' Giganri del Sig. Giuseppe Piamontini'.14

Giuseppe Piamontini was born in Florence in 1664 and trained
at first under G. B. Foggini. He was sent to Rome in 168 1 to
study, like Foggini before him, at the Florentine Academy under
Ciro Ferri and Ercole Ferrata. Among the works he executed
there was a terracotta low relief of Jupiter. He returned to
Florence in 1686 when he began an alabaster figure of the Dead
Christ for the altar of the chapel in Palazzo Pitti (now in the
Museo degli Argenti). In 16SS he carved a statue of St. John the
Baptist for the Florentine Baptistery (now in the Museo dell'
Opera del Duomo). He carved two very elegant figures for the
monument on the right-hand side of the Feroni Chapel in SS.
Annunziata, 1691-3, working under the direction of Foggini. In
1705 he carved the relief of The Fall of the Titans for Palazzo
Ferroni. Other works in marble include some attractive pntti in
Palazzo Pitti (1707), a bust of the gross featured Giovanni
Gastone de' Medici (c. 1 724) and a statue of St. Luke for that great
repository of Italian eighteenth-century sculpture, the Basilica at
Mafra in Portugal (1732). He was also responsible for numerous
bronzes, notably a Ganymede (Galleria Nazionale, Rome), an
equestrian statuette of Fcrdinando de' Medici (Prado. Madrid), a
group of The Sacrifice of Abraham of 1722 (Palazzo Serristori,
Florence) and a group of St. Louis IX of France with Attendants of
1723 (Museo Nazionale, Florence).

A stylistic change becomes apparent in Piamontini's work in
the early years of the eighteenth century when he began to
forsake the high baroque tradition in which he was trained for a
lighter and more elegant, almost rococo, style which marks the
group of Pntti in Palazzo Pitti of 1707 and was fullv accomplished
by the time he executed the bronze Sr. Louis IX in 1723. The
marble relief of The Fall of the Titans though carved in 1705
would therefore seem, stylistically, to belong to a slightly
earlier period of his career when he was more under the influence
j of Pietro da Cortona. One may indeed suggest that it was carved
from a model made in the 1680's or 1690's and that the bronze
reliefs in the Farrow Collection and also that at Munich date from
this period.

NOTES

1 K. Lankheit: Florentittische Barockplastik, Munich, 1962.

' The four large bronze statues after the antique which he executed for Blenheim
(now lost) are mentioned in the correspondence between Lord Strafford and
Christopher Crowe (British Museum, Add. MSS. 22, 221, f.265) and in an
autobiographical note by Soldani, Lankheit op.cit. p. 233.

3 The reliefs made for Lord Burlington are now at Windsor Castle, see Italian
Bronze Statuettes (Arts Council Exhibition Catalogue), London, 1961, Nos. 193-6.

7. Detail of No. 5.

4 The autobiographical note is in the Biblioteca Nazionale, Florence, and tran-
scribed by Lankheit, op. cit. p. 232.

5 Horace Mann to Bubb Dodington, Florence, 29th May, 1759, "... the vases art-
companions yet the story is different on each. They are of Bronze, the designs of
lean de Bologna and most notably executed by a noted workman, Massimiliano
Soldani who has been dead about thirty years, there are on each vase near twenty
figures both great and small and all highly finished, they were made for a present
to the late Great Duke but it had not effect, they belong to a family ot quality,
Scarlatti . . . ' The attribution of the original design to Giovanni Bologna may be
taken with a grain of salt. I am grateful to Mr. Warren H. Smith for drawing my
attention to this letter which is in the Yale University Library. For the pair of vases
in the Victoria and Albert Museum see: J. Pope-Hennessy : Catalogue of Italian
Sculpture in the Victoria and Albert Museum, London, 1964, p. 588.

6 I am indebted to Mr. F. J. B. Watson and Messrs. Gerald Kerin for drawing my
attention to these bronzes and to Mr. Farrow for allowing me to examine and
publish them.

7 Reproduced by Lankheit, op. cit. pi. 125, 126.

8 Lankheit, op. cit. p. 82.

9 Nota de' Quadri die sono esposti per la festa di S. Luca, Florence, 1 729, p. 8.

10 F. S. Baldinucci: Vila di C. B. Foggini in Biblioteca Nazionale, Florence and
transcribed by Lankheit, op. cit., p. 233.

11 The only other known bronze relief by Piamontini, in the Bayerisches National-
museum, Munich, shows The Death of Laokdon and is derived from one of the
frescoes begun by Pietro da Cortona and completed by Ciro Fern in the Palazzo
Pitti. See: H. R. Weihrauch: Die Bildwerke in Bronze (Bayerisches National-
museum, Munich), Munich, 1956, p. 184. The relief of The Fall of the Titans owes
much to Pietro da Cortona's treatment of the same subject on the great ceiling in
Palazzo Barberini, Rome.

12 Piamontini's autobiographical note is in the Biblioteca Nazionale, Florence,
transcribed by Lankheit, op. cit. p. 232.

13 F. N. M. Gabburri: I 'ite, MS. in Biblioteca Nazionale, Florence, transcribed by
Lankheit, op. cit. p. 229.

14 Nota de' Quadri che sono esposti per la festa di S.Luca, Florence, 1724, pp. 19 and 20.

89

A Liverpool Punch Bowl ?

MEDIAEVAL English records refer to Wine, Beer, Ale,
Cider and Mead, but are silent on the subject of spirit-drink-
ing: none of the Ordinances for the Royal Household issued at
successive periods, despite their great detail, makes reference to
spirits. It is not until the sixteenth century that our knowledge
begins. At that time there is said to have been a great increase in
the import of brandy from France, Spain and Portugal, and at a
slightly later date rum was introduced from the West Indies.
Neither beverage, however, seems to have been appreciated when
drunk by itself, and mixed and compound drinks were popular.
Of these, two stand out. One was Shrub, made of rum, water and
oranges; the other was Punch. The popularity of Shrub continu-
ed into the nineteenth century and Dickens describes in the
Pickwick Papers how one of the Select Footmen of Bath drank it.
Shrub is no longer in fashion, but Punch continues to be popular.

The word Punch was said by Fryer, in Travels in India, 1672, to
be derived from a Hindustani word signifying five, in reference
to the five ingredients from which it was normally composed.
This, however, is much doubted, not least because the number of
ingredients in Punch varies from three to six. The most common
are spirits of two kinds, hot water, sugar, spices and lemons. We
do not know what kind of container Shrub was made in; Punch
was most often made in a large bowl, and served with a ladle.
Punch was introduced to England late in the sixteenth or early
in the seventeenth century; by 1630 it seems to have been at least
moderately common and is referred to in a letter of 1632, quoted
in the O.E.D. 'I hope you will keep a good house together and
drincke Punch', and nine quotations on Punch from the remain-
ing years of the century are also given.

The Punch Bowl is slower to emerge. Indeed, we do not hear of
the container used for Punch until [692, when 'Subscriptions are
making in the city for a gold punch bowle' (O.E.D.) . Towards
1700 there was a fashion for Punch Bowls w ith deep notches in
the rim to hang glasses from; these were known as 'Monteiths'
after the supposed inventor. The Monteith was in fashion until
about 1710. Pottery Punch Bowls continue in use throughout
this period and an example, probably of 1767, in the Royal
Ontario Museum, is the subject of this article. It is - 1 1 inches in
diameter and stands on a foot-rim 1 ^ inches high and of to^
inches diameter; the height of the bowl is 8^ inches. It is of tin

enamel pottery with blue paintings on a white ground. Inside the 1
bowl, within a wreath of vine leaves, are the words THE FREE
AND EASEY SOCIETY; on the outside are two landscape
scenes, one of them including a pagoda. (Nos. 1 and 2.)

The Museum acquired the bowl from a London dealer a num-
ber of years ago, but if he had any information about the bowl's i
history it is not recorded. We are, therefore, left to deduce the I
origin and date of the bowl from its own characteristics, of which)
the reference to 'The Free and Easey Society' is the only one|
likely to be of help to us. There are eighteenth-century records of
a Free and Easy Society in several cities. Surprisingly there is no
reference to such a society in London, and the pages of Timb's
Clubs and Societies of London in the Eighteenth Century are silent on'
the subject. But one existed in Norwich, where in 1769, as we
learn from the East Anglian Magazine, 'Sheep Shearing and Lionel'
and Clarissa were staged by desire of the gentlemen of the Free
and Easy Society'. There is a reference to the name at a slightly
later date in the Autobiography of Benjamin Franklin, where refer-;
ring to his residence in Philadelphia he speaks of a plan to form
what would be called The Society of the Free and Easy. This I
comes in a passage in his Diary referring to 9th May, 1 77 1 , but
actually written in 1788.

We are, however, in search of a society that is likely to have
owned a Punch Bowl with its own name on it, and of far more
weight is the suggestion that the Free and Easy Society of Liver-
pool is that referred to, especially since Liverpool was a town well
known both for the production of tin-enamel pottery and fori
large punch bowls of this kind.

The Free and Easy Society in Liverpool does not seem to haveJ
lasted for long, but the information we have about it does sug-
gest that it might have owned such a bowl. Liverpool was full of j
societies about the middle of the eighteenth century and Dr. j
Knowlcs Boney writes m a letter: 'Liverpool abounded in clubs I
and societies which covered every aspect of its corporate and
social life. Apart from the many trade organisations which were a
development from the earlier craft guilds, we find clubs for
farmers and pig-breeders, sportsmen, artists, writers, philosophers, j
thinkers, and talkers (there was a Conversation Club) in addition i
to a very large number for the convenience of those who just
wanted to be sociable. We can safely assume that the interests j

90

on:

pursued by the "Ugly Mug Club" were not ceramic and if those
of the 'Free and Easy Society' are a matter for speculation, the
Bucks Society certainly provided opportunities for conviviality
among the rowdier elements of the population.'

The Free and Easy Society which concerns us here was found-
ed in 1767 and met at the Bucks Arms every Tuesday to promote
'Social mirth and innocent delight'. The founder seems to be a
Mary Price, presumably the owner or occupier of the Bucks
Arms who is listed as residing there in the Liverpool Directory for
1767. At a meeting of the Society she delivered an address which
is thus recorded in Gore's General Advertiser:

PROLOGUE
Spoken at the Free and Easy Society
'Excuse, good Sirs, my poor attempts to please ye;
You're welcome all, unto the Free and Easy.
Easy and free, oh, what a happy plan!
Fit institution for each worthy man :
Since all frail flesh is made of dust and clay,
Let us enjoy the minutes while we may;
Let pining Discontent, and anxious Care,
Fly to the winds — let us be happy here:
Let men, for grandeur, raise domestic strife,
Grasping at honour, lose the sweets of life;
While we, regardless of the venal crew,
Live still with Freedom — and he Easy too:
T'unbend our minds from th' hurry of the day.
And laugh and chant a chearful hour away :
That's the design — on this our plan depends.
And now, a word or two to you, my Friends.
No haughty wretch, with mean, unmanly pi ide,
Shall look disdain, on others at his side:
All nice distinctions in this room must cease,

2. Interior of the
punchbowl seen on
the facing page.

And all be hush'd in harmony and peace.
Tho' fortune has some little difj 'rence made;
We mostly, if not all, subsist by trade;
Then let's unite, like honest jovial friends,
Since all are useful for then different ends.
Each jolly soul must here good humour bring;
And if he can't himself, at least, let others sing;
No sneering critic, noting what is said,
1 1 'nli sly remarks, filling his useless head;
No former feuds must in this room have place,
The bane of joy — of friendship the disgrace:
Faction, beneath this roof shall hide its head.
By anger kindled, and resentment fed:
Remember too — we serve an useful end;
For while we're here, we are the Widow's* friend.
Be this our scheme, pursue each honest heart;
Let's meet in time — in time too let us part:
Hither, in crouds, let joyous souls repair,
Be this the Lethe where you drown your care;
For social mirth, and innocent delight.
Shall rear its standard ev'ry Tuesday night.'

* Mrs. Price, at the Bucks Aims

It seems, in tact, that we have here an example of Liverpool
Delftware; a Punch Bowl that is large although not as massively
large as some examples; and a piece that can be ascribed with
great probability to one exact year, 1767; Mary Price is listed at
the Bucks Arms in the Liverpool Directory for 1767; the absence
of her name from the next Directory, that of 1769, suggests that
her tenure did not last for long after the Society was founded.

//; the preparation of this article I have received much help from many sources, especially
from Dr. G. Knowles Boney, who has allowed me to reprint part of a letter written by him
and to use the photostat of part of a page in Gore's General Advertiser. / am glad to take
this opportunity of offering my sincerest thanks for the help given me.

91

ANDREW GRAHAM

i. Blagdon, Northumberland. Presented to the Dowager Lady Ridley by
the N.E. Housing Association in memory of her husband, Lord Ridley:
1964.

Recent examples
of the work of -
Laurence
Whistler

JUST over ten years ago (October, 1954) Mr. John Hadfield,
writing in The Connoisseur, saw signs of various ways in which
Laurence Whistler's work might develop. Some of these ways
are now apparent from the illustrations to this article. But first a
word on technique.

These pictures are produced by point- engraving, direct on to
glass, without acid. A diamond or steel point is used and the pic-
ture is mostly built up from innumerable very light dots. The
thicker they fall, the whiter the effect. Shadows are left to form
in unengraved areas which show dark against a dark background
Only lit surfaces and sources of light are engraved. The glasses
themselves are made by James Powell and Sons to the artist's own
designs.

Though Laurence Whistler continues to do architectural sub-|
jects (see No. 1, Lady Ridley's house at Blagdon in Northum-
berland) his main interest now is in exploring the possibilities of
symbolic landscape. In these subjects the aim, in his own words,
is that 'the landscape should appear to be meant — like one in a
dream, or as an actual landscape can appear in a moment of
heightened emotion, when nothing seems accidental'. To help in
achieving this aim he uses, among other devices, the intensifying
of light and shade, the simplification of objects portrayed, and the
'rhyming' of forms.

In 'The Slanted Light' (No. 4) the subject is the stillness of
early morning, empty of man. The curve of the bull's-eye win-
dow answers to the distant curve of the lane, and the saddle over
which the lane disappears to the sea has the shape, inverted, of the
hovering bird. But these are both inconspicuous 'rhymes'.

'Against the Day' (Nos. 2 and 3) shows a yew-tree black
against the sun, its fingers answering to the pinnacles of a church
tower rising from a combe nearby. The title, engraved on the'
foot, is intentionally ambiguous; for the yew that blocks the
light is also a symbol of resurrection. It is not accidental that the
hills curving down each side seem to hold the yew and the same
tower, seen again afar off, precisely between two points.

In 'The Touch of Day' (No. 6) the symbolism derives from
those ancient Egyptian reliefs in which the rays of the sun stretch
down narrow hands to confer a blessing. The house at the bottom
of the combe is the one described by the artist in his recent auto-
biographical book, The Initials in the Heart. It was his home with
his first wife before he moved to Little Place, Lyme Regis, where
he now lives.

92

93

5- Longford Castle. Presented to the Earl of Radnor by the Forestry
Commission in 1963. The landscape (like the others) is engraved on the
back of the glass, to be seen across it. But the castle itself is on the inside,
and thus a fraction of an inch in front — with an effect described in the
article.

6. 'The Touch of Day.' The early sunlight touches Halsdon Mill, the
cottage in Devon that was the engraver's home with his first wife, as
described in his recent book, The Initials in the Heart.

4. Left. 'The Slanted Light.' Greatly enlarged. The bowl is actually 3,'
inches in diameter, and 4 inches high.

95

7 & 8. 'And Summer and Winter' — the title round the foot of the glass is unending. Left. Central view. The dark tree-trunks to the left gradually
turn into the spaces between the snowy trunks to the right (an idea derived from an engraving of birds, black and white, by M. C. Escher). Right. The
'Summer' side (bowl reversed).

Each picture is made to belong, where possible, to the shape of
the chosen goblet and sometimes even 'rhyme' with it, as when
the lines of the stem are carried up and answered by the stems of
trees. In 'Driving Westwards' (No. 10) a cathedral spire is seen
against the sunset at that hour when the neon lights are still com-
peting with the daylight and have an effect ofjewels.

To offset some of its obvious limitations glass has one major
advantage: its transparency, which enables a design to be made in
depth.

The goblet given to Lord Radnor on his retirement from the
Forestry Commission is seen in No. 5. Nearly all the landscape

is engraved on the back of the glass, outside, so as to be seen across
the bowl from in front; but Longford Castle itself, though also
on the back, is engraved inside the bowl so that it seems to be
floating in front of the hills and detached from them. This is in-
tentional, for it is only the idea or image of the castle, and the
landscape is imaginary.

The same device is used in 'Mount Omega' (No. 9). Here it is
the central mountain which is engraved on the inside of the back,
while everything else is on the outside, a fraction of an inch be-
hind. The mountain therefore seems to come forward at an un-
certain distance, like an hallucination. Perhaps it is seen across the

96

9. 'Mount Omega.' A symbolic mountain, seen perhaps across the waters
of death. The peak is on the inside of the glass, and thus seems to float at
an uncertain distance in front of the landscape, engraved just behind it,
on the back.

10. 'Driving Westwards.' Suggested by a car journey into the sunset, at
the hour when the neon lights first come on. The cathedral spi.-e answers
the shape of the goblet, which continues downward in a cone to the foot.
Height, 9 inches.

waters of death. There is also an allusion to Teilhard de Chardin's
'Omega Point', to denote the end of all being: 'Not only does it
crown but it closes'.

It is not easy to write of another man's dreams. Laurence
Whistler and his brother Rex were both endowed with talents
which may reasonably be described as great. Rex was killed while
serving with the Welsh Guards in Normandy twenty years ago and
we shall never know what he might have achieved. For many years
Laurence was his elder brother's disciple and owes much to him;
but some time ago his ideas branched off on their own until by now
there is little in common between the work of the two brothers.

Within the limits imposed by the medium, Laurence Whistler
seems to be following a comprehensible pattern. (Compare for
instance, on the very broad canvas, Turner's evolution from the
topographical exactitudes of his youth to the dream sequences
painted at Petworth. Compare also, in this context, his 'playing
with light'.)

Given the innate talent and the acquired expertise, it will be
thrilling to see whither the intensely personal vision will lead.

The photographs illustrating this article are by Anthony Osborn.

97

Drawings by Kyffin

Williams

RALPH EDWARDS

KYFFIN WILLIAMS is of pure Welsh descent. Born in
Anglesey, there and in Caernarvonshire his ancestors have
lived for many generations — facts that have a direct bearing on
the character of his art. After the last war he studied at The Sladc,
and for twenty years has been Art Master at Highgate School.
The Isle of Anglesey and the wild mountainous country across
the Menai Straits have commanded his constant allegiance and are
the main sources from which his pictures and landscape drawings
derive — however freely translated. He has had One-Man shows
at the Leicester Galleries and at Colnaghi's: in recent years a
number of his pictures have also been exhibited at The Royal
Academy.

Early in the present century Heinrich Wolfflin began his
celebrated Principles of Art History by demonstrating that in
naturalistic or representational painting of landscape, as of the
human figure, the nationality of the artist, his individual con-
ception of form and colour, his personal vision and tempera-
ment, have been responsible for deeply significant variations in
the rendering of identical or closely similar themes; powerful as
at any given period may have been the influence of the dominant
style.

Now such a demonstration may seem superfluous, but it is still
a valuable reminder of the profound differences in ways of seeing
and feeling that must always persist, warranting the inference that
an art which makes direct reference to visual appearance as
a means of expression is in no danger of being finally used up.

From about the middle of the eighteenth century onwards a
host of English and foreign artists have resorted to Wales, many
of the vanguard drawn thither by the irresistible lure of moun-
tains, crags, torrents and 'horrid' precipices that figured so pro-
minently in the fashionable cult of 'The Picturesque'. Through-
out the whole period until today there has been an immense
diversity in the artists' productions — reality transmuted by a few
into poetry (Wilson and Turner), but providing much more
mere competent graphic prose.

The diversity has greatly increased in our own time, and in
much of contemporary painting any direct reference to nature is
completely abjured; the landscape may serve as a pretext or pro-
vide a title for a picture but otherwise it has ceased to count.
Kyffin Williams is among the most gifted contemporary painters
for whom nature has continued to suffice. He is a Welsh artist in
the romantic tradition (as were in a previous generation J. D.
Innes and Augustus John), and his art is deeply imbued with the
Celtic spirit; which is recognisable too in that of his elder con-
temporaries— in the visionary world of David Jones and in Ceri
Richard's colour and rhythms; even though there may be little or
no representational content.

Kyffin Williams is chiefly a landscape painter. He has a deep
feeling for a type of scenery with which he has been familiar
since childhood and an intuitive understanding of its essential
characteristics, which an alien can scarcely obtain. His drawings

4

are those of a painter. Many are in fact studies for pictures ; all
are done on the spot, and most of them are carried much further
than a rough sketch: oils and drawings are unmistakably from
the same hand. In the drawings broad washes are often put on
with a full brush and the thick contour lines are sharply defined.
That they are thick is not surprising, for Kyffin Williams draws
'with the wrong end of a brush sharpened to a wedge'. There is
no attempt to render appearance with realistic accuracy. Knowing
the Welsh mountains so well in all seasons and weather con-
ditions, he docs not need to add colour in his preparatory studies
for pictures. When colour is used at all, it is used sparingly in a
limited scale of muted hues: volumes, forms, atmosphere and |
distances are rendered largely by strong contrasts of tone, the white
of the paper being often foiled against black. Thus resonant effects
of light and dark are obtained with plastic illusion, ink wash
being the medium most often employed. But this is no facile
formula or convention: the drawings are interpretative, express-
ing a highly personal vision — the spirit in preference to the
physical facts. It is not gentle or elegiac, nor does it breath la
douce melancholic de la campagne; the landscape of the artist's pre-
dilection is far from sweet if much of it is melancholy, sombre or
austere. His power of evoking the indefinable spirit of a place is
seen to great advantage in some of the Anglesey^ drawings, which
have a less obviously picturesque appeal than those of the roman-
tic mountainous region. Here stornw skies shot with gleams of
light lour above primitive cottages and farm-houses with rough
stone walls. Gaunt little trees lean away from the prevailing wind
and in the foreground boulders are scattered around or rocks
protrude from the soil — important elements in the design giving
it a spatial perspective movement. When figures of peasants and
animal life — horses, cattle and dogs — are introduced, while sum-
marily rendered, they are convincing proof how searching the
artist's observation has been. That alone will insure their con-
demnation by those who believe that between art and reality
there should be an absolute divorce. Such drawings, like Kyfhn
Williams' paintings, are striking examples of mood in landscape,
of a highly personal response to a particular environment. They arc
the work of an artist primarily concerned not with topography,
or even with formal values, but with the emotion his subject
arouses. His vigorous, expressive style, which has no close*
parallel and is identifiable at a glance, is admirably adapted to
record his subjective impressions of nature both in its fleeting and
permanent aspects.

1. Chapel and Slate Tip, Bethesda, 16 20 inches.

2. Snowdon from Cesarea, 15!, • 22 inches.

3. Talsarn, 15 J > 22 inches.

4. Cader Idris, 72 > 14 inches.

98

THE CONNOISSEUR CATALOGUE TO THE SILVER JUBILEE OF THE

Beaters' Faip ai

Grosvcnor House, Loudon, June 9-24
under the Patronage of Her Majesty Queen Elizabeth the Queen Mother

STAND I. SPINK & SON, LTD.
Below. One of a pair of 9A inch high
carved lacquer elephants in cinnahar
red, magnificently caparisoned, the
saddle cloths carved with Imperial
dragons amongst clouds. Ch'icn
Lung (A.D. 1736-1795)- Exhibited at
the Chinese Exhibition, Burlington
House, in 1936, by H.M. Queen
Mary.

STAND 77. S. J. PHILLIPS, LTD. Above.
George II, 20 inch square silver salver, by
George Wickes, London, 1744.

STAND 37. H. BLAIRMAN & SONS,
LTD. Below. One of a pair of fine 36 inch
high, eighteenth-century Chinese paint-
ings on mirror glass.

STAND 17. JEREMY, LTD. Above.
The dimensions of this Chippendale
period tripod table, with original fret-
work gallery, are: Height, 28 inches;
diameter, 27 inches.

STAND 8. NORMAN ADAMS, LTD. Above. Date of this small early
Queen Anne walnut settee is c. 1705. It is 42 inches high; 44 inches
long, 19 inches deep.

103

STAND 52. DENNIS VANDERKAR. Above. Salamon
Rombouts (1650-f. 1702). Pastoral scene with fisherman, panel,
17J X 22 inches.

STAND 7. DENYS WREY, LTD. Above left. One of a pair of
Derbyshire spa candelabra, ormolu mounted in the manner
of Matthew Boulton, c. 1800. STAND 15. DELOMOSNE &
SON, LTD. Above right. One of a pair of candlesticks, the
bases of lacquered brass with alternate columns of pale
yellow glass, c. 1800. Height 13] inches.

STAND 79. BLUETT &
SONS. Left. An early Is-
lamic pottery ewer in the
form of a bull, in tur-
quoise blue glaze with
traces of iridescence. Prob-
ably from Rayy, 12th
century A.D. Height 7
inches.

0t ■■■

*-

■

STAND 23. BRACHER & SYD-
ENHAM, LTD. Above. Queen
Anne period coffee pot, 1711, by
John Ruslen.

STAND 19. H. W. KEIL, LTD. Left. An exceptionally rare and
interesting walnut late seventeenth-century tea table, with drawers
and candle slides. Note the fold-over top, unusual stretcher rails and
chamfered legs and 'gate' arrangement. Height 28 inches; length
31 inches.

104

Chinese Regency

and the provenance of four pagoda stands

HELENA HAYWARD

AS E T of four Chinoiserie pagoda stands surmounted by
figures of Chinamen with nodding heads which have just
appeared on the London art market are so similar in style to those
supplied by the firm of Elward, Marsh and Tatham to the Prince
of Wales for Carlton House that they may well have been con-
nected with one of his enterprises in exotic decor.

When about the year 1 785 he decided to install a Chinese Room
in his London home, Carlton House, the Prince was reviving a
taste that had fallen out of fashion 111 the immediately preceding
years. Chinoiserie had a history in England going back to the
early seventeenth century, but it did not blend satisfactorily
with the neo-classical style practised by Robert Adam and his
followers. Even Adam did not, however, exclude it completely
for there are at Osterley Park two commodes, constructed of
oriental lacquer panels within a neo-classical framework, the
design of which is believed to have been inspired by him. Again
there is at Kenwood, in the room above the entrance hall, a quite
fantastic oriental chimneypiece, Adam's drawing for which,
dating from the late 1760's, is preserved at the Soane Museum.
The Chinese Room at Carlton House was decorated in a very
restrained version of the Chinoiserie style, as can be seen from the
two views of it that are included in Thomas Sheraton's Cabinet
Maker and Upholsterer 's Drawing Book. The walls were panelled
with painted and gilded Chinese figures and landscapes in bam-
boo frames while the dado was decorated with a Chinese fret.
An important role was played by numerous Chinese figures
modelled in the round. One sat on a cushion in the lower stage of
a pier table, two on top of each of the door cases and Chinese
terms supported the chimneypiece and formed the legs of
another pier table. Finally there were Chinese figures on pedes-
tals on each side of a large settee and the stems of the candelabra
on the pier tables and on the chimneypiece were also modelled
as Chinamen — making in all twenty-one figures.

The room at Carlton House was destroyed within ten years of
its creation and its chief features, the figures of Chinamen, the
Chinese furniture and the chimneypiece, were included in the re-
construction of the Prince's Pavilion at Brighton, undertaken in
1802. The interior of the latter was far more ambitious in its
exploitation of the Chinese taste; its Hindu exterior enclosed
rooms in which Chinese motifs and fittings were extravagantly
employed. With the exception of Claydon House in Bucking-
hamshire, where Lightfoot achieved the ultimate in oriental
fantasy (see The Connoisseur October, 1958), the great English
country house of the eighteenth century was not remarkable for
Chinoiserie decor. There might be one Chinese bedroom or at the
most, as at Hinton House, the seat of the Earl Poulett, a suite of
them, but the decoration was confined to Chinese wallpaper,
Chinese Chippendale furniture and perhaps a few Chinoiserie
figures of Meissen or Chelsea porcelain on the chimneypiece and
pier tables. At Brighton, as before at Carlton House, some of the
rooms were peopled by Chinese figures, but here the scale was

Winged dragon, in carved and gilded wood, a detail from the colour
subject on page 107.

105

Chinaman with nodding head of painted plaster, a
detail from the colour plate on the facing page
showing the four pagoda stands. These are exhibit-
ed by Messrs. H. Blairman & Sons, Limited on
Stand 37 at Grosvenor House.

larger. On one side of the corridor, as furnished in 1802 by die men would have been made of carved wood, as are some of
firm of Crace and Sons, there were six life-sized Chinese figures those at Brighton. By the early nineteenth century plaster had
of carved wood, clothed in Chinese robes and supporting rods become a more respectable material. Robert Adam had not
from which lanterns were suspended. On the other side were hesitated to use composition on a wire foundation for mirror
smaller figures from Carlton House made of painted plaster and frames; and sculptors such as Humphrey Hopper of Wigmore
set on commodes. The life-sized figures were removed in 1822 Street made large numbers of plaster figures which served as sup-
but the smaller figures remained and four of them are still to be ports for lamps or candelabra. They were painted black or dark
seen in the corridor. These last closely resemble the set of four green to resemble bronze, but the Chinese figures are painted in
figures illustrated here — so much so that the latter might well have natural colours and do not attempt to imitate another material,
been supplied by the same firm. If these figures were not made for Brighton Pavilion, one other
Whereas the figures at Brighton were set on porcelain stands possible source can be suggested. The oriental interiors of
or on commodes, this set have wooden stands in the form of Brighton, though greatly admired, were not widely copied,
pagodas, the supports of which are painted to look like bamboo, Sezincote with its fantastic Hindu exterior elevations was
while at each corner of the upper stage a winged dragon springs furnished in a classical style and the Chinese Room at Ombersley
out holding a wooden bell. Presumably the space enclosed within Court, Worcestershire, completed in 1815, does not seem to have
each stage was intended to contain a Chinese porcelain vase. attempted to rival the splendours of the Pavilion. We do, how-
Amongst a number of drawings by Frederick Crace, now 111 the ever, know that a Chinese fishing-house was erected for George
Cooper Union Museum, New York, is one of a vase on a stand IV about 1824 on the edge of Virginia Water. A drawing of this
of pagoda form, also in two stages. In this case the space is filled edifice, also by Frederick Crace, shows that it had three octagonal
by a cylinder of wood or porcelain painted with Chinese subjects. towers surmounted by spires and dragons and that it would have
The proportions and design correspond closely to those of the set provided just the right setting for the four chinamen on their
illustrated. During the eighteenth century the figures of China- pagoda stands.

106

A bookcase and bureau-bookcase
of neo-classic design

E. T JOY

THE fine bookcase seen here in colour (No. i) and No. 2
illustrate two splendid examples of the English cabinet-
naker's skill of c. 1785, when, at about the time of the publication
if the designs of Hepplewhite, Shearer and Sheraton, the neo-
:lassic style was reaching its maturity. Both pieces were formerly
n the collection of Captain E. G. Spencer-Churchill. M.C., of
Morthwick Park, Gloucestershire.

The hnelv proportioned break-front bookcase in No. 1, with
-datively narrow wings and unusually shallow depth, is made of
atinwood veneered on a mahogany carcase. The drawers are
I lined with oak and have their fronts faced with mahogany
beneath the satinwood. A conspicuous feature is the employment
of purplewood glazing bars in continuous flowing circles linked
J by rosettes. The circles are repeated in the drawer handles, in the
central iidaid rosettes of the narrow scrolled pediment, and in the
I larger rosettes on the cupboard doors (Nos. 3 & 4). The makers
of this time had a genius for unobtrusive elegance of ornament,
I ind here the neo-classic decoration is delicately rendered. The
fluting on the friezes of both the upper and lower stages consists
I of strips of purplewood with insertions of boxwood. The
■ etched decoration on the scrolled pediment is carried out with
black wax, which is also used as an edging to the doors and
I drawers.

A piece of furniture of this quality, obviously from a cabinet-
I maker of eminence, poses the perennial problem of the maker's
name. The large inlaid rosettes, consisting of an outer circle of
I sharp pointed leaves, and an inner one of curled acanthus, bear a
close resemblance to the linked rosettes on the friezes of a pair of
side tables supplied to Mersham-le-Hatch, Kent, by Chippendale
and Haig between c. 1775 and 1780, and to similar decoration on
an inlaid commode-table, veneered with harewood and satin-
wood, at Syon House, Middlesex, as well as to that on a closely
related dining-room commode recently described in The Con-
noisseur (January, 1965). But while Chippendale seems to have
been the only maker of this rime (from available evidence) to
have used this particular motif, there is no evidence to connect
his name with the bookcase, even though its quality- matches his
authenticated work.

In contrast to the circular decoration of the bookcase, the
mahogany bureau-bookcase (No. 2) emphasises oval forms in the
tulipwood glazing bars and the small paterae of boxwood etched
with black wax which link the central ovals to the door frames,
in the central panels on the lower cupboard doors and on the
front of the secretaire drawer, and in the back-plates of the
handles, which have been specially cast to match the paterae of
the glazing bars. The concentration on geometric forms evident
in Nos. 1 and 2, as well as the quality and date, prompts the
question whether both pieces came from the same workshop ?

A very unusual feature of the bureau-bookcase is the inset of
mirror glass in the uprights and frieze of the bookcase, two
lengths of glass being used in each section. Where these lengths
join, at points coinciding with the oval paterae and the meeting
of the doors, there are indications that formerly the junction was
concealed by oval paterae similar to those of the glazing bars.

Facing. I. Break-front bookcase of satinwood with circular purplewood
glazing bars linked by rosettes, c. 1785. Height at centre, 104}, inches;
length, 73 inches: depth at centre base, 14 inches. Above. 2. Mahogany
bureau-bookcase with oval tulipwood glazing bars, the uprights and frieze
of the bookcase inset with mirror glass, r. 1785. Height, 8l{ inches: length,
33 J inches; depth, 20 ] inches. Both pieces are exhibited by Messrs. Norman
Adams, Ltd., on Stand 8 at Grosvenor House.

ioy

Another unusual feature is the herringbone banding decorating
the uprights of the base. Both features recall the techniques in
fashion a century before. The craftsmanship is of meticulous
refinement. The satinwood crossbandings to the mahogany
veneers on the lower stage are formed of long continuous strips
which, however, give the impression of the shorter strips that
were the normal method of application. The bookcase doors
have three separate lines of veneers: mahogany in the centre, and

crossbandings of satinwood on the outer and of tuhpwood on the
inner sides, the satinwood being again applied in long con-
tinuous strips.

The secretaire drawer lets down on a brass quadrant, dis-
closing a finely appointed interior, the central recess of which has
a removable base. The inside of the whole piece is completed
with mahoganv panelling of fine precision, and the stiles are
edged with a very delicate moulding.

no

STAND 31. ARTHUR ACKERMANN & SON, LTD. Above.
William Shaw. Arabian horse with Arab groom in a rocky
landscape, canvas, 36.; 45 inches, signed and dated 1766.
Exhtd. 'The Martin's Arabian', No. 157 in the Society of
Artists' Exhibition, 1788.

STAND 87. MAYORCAS, LTD. Below. English embroidered
coif, c. 1560. Embroidered in long and short stitch, silks in
reds, greens, yellows (professional work as opposed to domes-
tic embroidery). Size : 17 A inches across, 9 inches high.

STAND 32. HARRODS, LTD. Above. Chippendale period mahogany
Pembroke table, the pierced corner brackets sliding forward to support
the drawer (fitted for writing). Size: 24^ X 24 inches leaves down,
29 inches high.

STAND 22. MARGERY DEAN.
Left. French late 18th century
clock, the dial signed by
Dubuisson, the movement by
Drouot, Paris.

STAND 70. BEAUCHAMP GALLERIES. Above.
Bilston enamel travelling writing set, the landscape
vignettes painted on a white ground enriched with
gilding, 2 j inches wide.

STAND 53. DAVID DREY, LTD. Right. A
highly important Regence bureau plat, c. 1715,
veneered with purplewood, finished with gilt-
bronze mounts of sumptuous quality, and
thought to have been made to royal or minister-
ial order. This table takes entirely to pieces. The
names of Cressent, Gaudreau or A-C Boulle
have been suggested as the maker. Size: 77
inches (1 m. 95 cm.) wide; 31 inches (78 5 cm.)
nigh; 37 inches (94 cm.) deep.

Ill

STAND 33
D. M. & P. MANHEIM
Left. A very rare porcelain i\ inch diameter
screw-top box, a portrait of George III painted in
colour on the lid. The interior and sides are
gilded, the base carries the inscription George the
Third. Spode & Copeland 1814; below it a 3^ inch
diameter Leeds creamware box-lid, c. 1770, with
portrait in coloured relief of John Wilkes.
'No. 45' refers to that issue of his 'The North
Briton' in which he attacked the Prime Minister,
the Earl of Bute. Inside the lid, the initials I.S.
in black probably refer to John Smith who
owned the Rothwell Pottery, near Leeds, until
1774. (See Towner's 'English Cream Coloured
Earthenware', p. 45). Right. Graceful, n£ inch
high, Bow figure of a girl inhaling from a bunch
of flowers in her right hand, her left hand resting
on a pot-pourri. Her robe is painted with
coloured flowers, the blue cloak is lined with
pink and a deep-rose and turquoise head-dress.
The high rococo base is scrolled with blue and
gilt, the encrusted flowers and leaves brilliantly
coloured. Blue cross swords mark on base, c.
1765.

Right. This 14J inch long, 11 inch wide Chelsea
dish, gold anchor marked c. 1756, is superbly
decorated in colour with exotic birds and
English garden flowers, the shaped edge is
gilded (cf MacKenna's 'Chelsea Porcelain. The
Gold Anchor Wares', plate 6, fig. 11).

Left. Of date 1820 (9J inches wide, 3]
inches deep, Il{ inches high), in this
charming example of a brilliantly
coloured Staffordshire pottery rustic
group the boy plays a pipe, the girl a
mandolin and twelve sheep recline on
the grassy green mound before them.
In the background the small circular
buildings are bright yellow.

Right. Pair of Ralph Wood pottery figures of
Simon and Iphigenia, impressed with the
numerals '96' and '97' respectively, on base 9i
inches high, c. 1760 (ff 'Mr. Partridge's Collec-
tion of Ralph Wood', p. 17).

Below. Circular in shape, a low wall in front,
this very rare 5J inch high, 5 inch base diameter
Rockingham porcelain cottage, c. 1820, has pale
buff coloured walls, gilt-edged chimney and
base. It is lavishly encrusted with coloured
flowers, leaves, moss, the windows cut out.
The base is inscribed Lord Darnley's Cobham
Lodge.

112

STAND 78
MALLETT & SON
(ANTIQUES) LTD

Left. This attractive Chippendale period
carved wood and gilt mirror in the
Chinese manner was formerly at Elvas-
ton Castle, Derby. Its height is 76 inches,
width 39J, inches.

Right. The dimensions of this rare pair
of eighteenth-century pictures on mirror
glass, in eighteenth-century carved
wood and gilt frames, are: 26 inches
high, 32 inches wide.

Facing. Early eighteenth-century blue green lacquer cabinet, the mirror doors concealing numerous
drawers, a secretaire drawer below. This cabinet is one of an original pair, of which the companion piece
is now in the permanent collection of the William Rockhill Nelson Gallery of Art, Kansas City, Missouri.
It is illustrated in Cescinsky's English Furniture from Gothic to Sheraton (pp. 236-37), in The Connoisseur in
December, 1933 (p. 420, No. 383) and in Hugh Honour's Chinoiserie (plate 31). It is 39 inches wide; 21
inches deep ; 94 inches high.

Right. This rare George II period marriage
chest, probably copied from an Italian
sarcophagus, is in mahogany with lavish
giltwood carving in a floral design with
scrolls and acanthus leaves (see Dictionary
of English Furniture, Vol. 2, Fig. 47). Its
dimensions : 32A inches high ; 54 inches long ;
28 inches deep.

IIS

STAND 4. CECIL DAVIS, LTD. Above. One of
a pair of English Georgian decanters engraved
5th BATTN. 60th REGT., c. 1800.

STAND 54. H. R. JESSOP, LTD.
Left. One of a fine set of four candle-
sticks, by William Cafe, London,
1767/71, engraved with the arms of
George, 3rd Earl of Albemarle.
Weight 93 oxs.

STAND 14. BIGGS OF MAIDEN-
HEAD. Left. The cylinder front
of this imposing Sheraton painted
satinwood bureau-bookcase, with
inlaid stringings, is decorated
with classical subjects after Angel-
ica KaufFmann. The dimen-
sions: 48 inches wide, 84 inches
high.

STAND 72
THE CONNOISSEUR
Are you a regular reader of
The Connoisseur, the inter-
national art magazine de-
signed to meet the tastes
and requirements of its
readers?

If not, ask for particulars
and a Subscription Form —
on Stand 72.

STAND 56. RONALD PHILLIPS, LTD.
Beloir. Of diminutive size, this rare
Regency period screen table is 28 inches
high. Also on this Stand is a fine rose-
wood dwarf cabinet with gilt enrich-
ments of the same period.

116

A cabinet from Weeks'
Museum

:. T. JOY

THE trend towards compact interior arrangements and the
use of mechanical devices, which was a notable feature pf
urniture-making at the end of the eighteenth century, is aptly
llustrated in the cabinet illustrated here in colour from Weeks'
Museum, a permanent exhibition which was celebrated in late
Georgian London for its 'mechanical curiosities'. This cabinet can
De dated to the period 1 790-1 800, when the final phase of neo-
rlassic design was being replaced by the new Regency style. It is
veneered with mahogany and crossbanded with satinwood, on a
;arcase of 'Spanish' mahogany, all the finely selected wood being
in excellent condition. The repeated concave curves above the
wings of the upper stage and on the cresting, in which is a clock
inscribed Weeks' Museum, Ticliboruc Street, are very similar to
those on a cabinet in Sheraton's Drawing Book (179 1-4), though
Sheraton's piece does not have a clock.

The cupboard in the base of the cabinet formerly contained an
automatic organ which was connected to the clock and played
tunes at the half-hour, the clock striking the hours. The musical
mechanism is credited to a craftsman named Bellowdie, who
made a number of 'self-acting organs' for Weeks's Museum. The
top drawer above the cupboard is fitted for writing; it has a drop-
front with a leather base in a surround of veneered satinwood ; at
the back are small mahogany drawers with ivory handles. The
fittings include silver-capped inkwells and pounce bottles, the
latter having their corks secured with silver washers and nuts.
The silver, stamped and marked W.C., of date 1799, can be
assigned to William Chawner, the London silversmith.

The second drawer is equipped for the toilet, and contains
brushes, six silver-capped essence bottles and more inkwells, ivory
wafer boxes, an adjustable mirror, the base of which is veneered
and crossbanded with satinwood, and a number of compart-
ments. The silver is by the same silversmith. The cabinet's
external metalwork — handles, vase-shaped finials (which are
probably also candle-holders), and the top edging of the lower
stage — is original, and of fire-gilt brass. Throughout, the crafts-
manship and materials are of the highest order. Regency features
are heralded by the projecting reeded colonnettes at the corners
with leaf capitals, and by the shape of the turned feet.

A number of cabinets of strikingly similar appearance to the
present one have been traced. One, veneered with sabicu and
satinwood, is shown in the Dictionary of English Furniture (1954;
Vol. L, p. 198, fig. 71); another is illustrated in Macquoid's Age

Above. 1. Dressing chest veneered with sabicu and satinwood, the central
cupboard surmounted by two drawers, one for writing and the other for
dressing, r. 1790. Height, 46 inches; depth 23 J inches; length 78 inches.
Photograph reproduced by courtesy of Messrs. E. T. Biggs & Sons, Ltd.,
Maidenhead.

117

if Satinwood; a third was formerly in the Chrysler Collection.
Two others have been traced to Northumberland and Scotland.
A further example, now at Aston Hall, Birmingham, lacks the
colonnettes, and has the outward curving feet and shaped apron
piece of the earlier Hepplewhite style.

Also closely similar to these cabinets is the dressing chest
(No. i), veneered with sabicu and satinwood, with the same type
of colonnettes, the same shaped inlay framing the veneers on the
drawer and cupboard fronts, and the same distinctive satinwood
surround to the key-holes in the centre. All these pieces have so
many common features that it is reasonable to assume that they
came from the same workshop. There is unfortunately no clue to
the identity of the cabinet-maker, though his work is obviously
distinguished. The relationship between him, the metalworkers,
and Weeks, who supplied the clock and organ, must remain a
subject for interesting speculation.

Weeks' Museum occupied premises at Nos. 3 and 4 Tich-
borne Street, and at No. 56 Great Windmill Street, at the
northern end of the Haymarket, on the site now occupied by the
London Pavilion. Little is known about Weeks himself. In 1797

Thomas Weeks, then described as a 'perfumer and machinist',
was leased the premises by Sir Henry Tichborne for 60 years at
£,210 per annum. The lease included 'a large Exhibition or
Shew Room . . . recently built at the expense of Sir Henry Tich-
borne, over the Coachhouses in the yard of the Black Horse Inn'.
Weeks had actually been an occupant since 1784, presumably
before the erection of the show rooms. The Museum issued a
subscription ticket admitting four persons for one guinea (No. 2).

A. C. Pugin's view of the Museum (No. 3) shows its position
relative to the eastern end of the present Regent Street and the
then newly completed County Fire Office (18 19). The Museum
is seen conspicuously surmounted by a large clock, and the
arched opening at street level is the entrance to the coach yard and
exhibition. When Weeks died about 1834, 'after an unusually
long and laborious life', the contents of his Museum were
auctioned, the sale catalogue advertising, in addition to the
mechanical curiosities, a great variety of musical instruments,
clocks (including James Cox's 'perpetual motion' clock im-
proved by Weeks, and now in the Victoria and Albert Museum),
watches, bronzes, china, statues, chandeliers and furniture.

Thanks are due to Mr. P. Cook, Department of British and Medieval Antiquities, Britisli Museum, for valuable advice.

^WEEKS' Ml SI'.IM.^^ -

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Above. 2. Subscription ticket, admitting four persons for one guinea,
issued by Weeks' Museum, Tichborne Street, in the 1780's. Reproduced by
courtesy of Westminster Public Libraries, London.

Right. 3. A. C. Pugin's view of Weeks' Museum (at right), showing its
position relative to the eastern end of the present Regent Street and the
then newly completed County Fire Office. Reproduced by courtesy of the
British Museum (Crane Collection).

Colour Plate. 4. The cabinet from Weeks' Museum, described on the pre-
vious page. Dating to the period 1790-1800, it is finely veneered with
mahogany and crossbanded with satinwood on a carcase of 'Spanish'
mahogany. The clock surmounting is inscribed Weeks' Museum, Tich-
borne Street. Exhibited at the Antique Dealers' Fair by Messrs. Hotspur,
Ltd., on Stand 26.

MJTHV late S53H11 *yAHSJiKS| Jfe-w Superfine Colour Mimiirac-lor- ,
nmi/fom 206JSa>mHk to.\°3-K31arrlrboneStrrrtJ{r(irul rirrus.KoradiUy
at the bark of and nra to the fomitv Krr Office.

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ft.**, aajirt JW« Br, Wi 9t0* w r/i. ii«r»9

1 18

STAND 80. LEONARD KOETSER, LTD. Above. Lucas van Valken-
borch. Village Festival, signed, panel, nf X 16 inches (29 6 X 40 6 cm.).

STAND 38. A. ARDITTI. Above. Detail from an exceptionally rare
Gothic velvet of date 1475 (red on a gold ground). Complete size:
100 X 65 inches.

STAND 77. S. J. PHILLIPS. Above. George III oval gold box,
3g inches wide, by Samuel Godbehere, London, 1799.

STAND 27. ASPREY & CO., LTD. Above left. One of a fine pair of
Bilston canisters, the cover of the other example decorated with a
shepherd and flock, a bull in the background.

STAND 76. M. HARRIS &
SONS. Left. The dimensions
of this unusual Regency maho-
gany open bookcase with or-
molu Sphinx decoration are:
32k inches wide; 49] inches
high.

STAND 44- NEWMAN &
NEWMAN (ANTIQUES)
LTD. Right. Chelsea, c. 1755,
7 inch high group of Dutch
Dancers, the model attributed
to Joseph Willems after an
original Meissen model by
J. F. Eberlein. The man's
tunic has bright green sleeves,
his yellow breeches blue
rosettes at the knee. The girl
wears a patterned bodice, a
puce skirt. Marked with a red
anchor on the base.

J 20

STAND 43. OSCAR & PETER JOHNSON, LTD. Above.
Robert Dadd (1748-1816). Shipping on the Thames with
Limehouse Church in the background, 323 57 inches.

STAND 18. R. L. HARRINGTON, LTD. Above. Overall dimensions of
this Italian eighteenth-century carved giltwood mirror are: 44 inches
wide; 54 inches high. On this stand, also, are some fine enamels from the
collection of the late the Hon. Mrs. Nellie lonides.

STAND 11. JOHN SPARKS, LTD.
Above. Chinese 9-inch diameter porcelain
bowl decorated with a three master
flying the blue ensign and with floral
sprays, famille rose enamels and 'bianco
sopra bianco'. Ch'ien Lung period,
A.D. 1736-1795.

STAND 36. W . M. BRUFORD
& SONS, LTD. Left. Queen
Anne period tankard with
cover, by John Elston, Exeter,
1705. Height 91, inches.

STAND 5. MANN & FLEMING (ANTIQUES) LTD.
Below. A seventeenth-century carving of Charles I which is
set in an antique frame.

STAND 17.JEREMY LTD. Right. This very fine Queen Anne period, c.
1710, kneehole desk is decorated in black and gold lacquer. Its dimen-
sions are: Height 31 inches; width 39 inches; depth 22 inches.

121

STAND 48. MAPLE & CO., LTD. Left. One of
a pair of George II carved and giltwood
mirrors. Height, 57 inches; width, 30 inches.

STAND 46. SABIN GALLERIES. Right. Philip
Mercier (1689-1760). The Young Seamstress,
30 25 inches, signed with initials.

STAND 75. PARKER GALLERY. Below left.
The Royal Yachts Mary and Royal Charlotte,
by J. Cleveley, 1768, signed, 25 36i inches.

STAND 1. SPINK & SON, LTD. Left.
Fragment of torso in red sandstone, showing
elaborate jewellery at the neck. Height, 13
inches. Gupta, 5th-6th Century.

STAND 29. TREVOR-
ANTIQUES, BRIGHTON.
Left. Rare Chinoiserie
decorated lacquer bureau, c.
1740. Dimensions: Height,
39 inches; width, 29 inches;
depth, 18 inches.

STAND 16. PHILLIPS OF
HITCHIN, LTD. Right.
Certain features of this
mahogany centre table,
with concave cupboard
doors, c. 1765, such as the
inlaid star on the top, are
also found in a bureau-
bookcase at Wilton House,
Salisbury. Dimensions:
Height, 30 1 inches; width.
24 inches; depth, 16 inches.

122

STAND 25. LORIES, LTD. Above left. This 12-inch high Coalport vase
is painted with flowers on a yellow ground. STAND 12. WALTER
H. WILLSON, LTD. Above right. W. Cafe, London, 1769, was the
maker of this 9-inch high wax jack. Also on this Stand is a pair of caddies
and an unusual covered sugar hasket, London, 1769, by William Vincent.

STAND 37. H. BLAIRMAN Si SONS,
LTD. Above. The dimensions of this
Louis XV ormolu clock, by Jacques
Panier, Paris, the porcelain figures by
Kaendler, are: Height 22 inches; width,
14 inches; depth, 8 inches.

STAND 71. GLORIA ANTICA. Below. One of a
pair of Regency rosewood dwarf cabinets, the
dimensions being: Height, 33] inches; length,
284 inches; depth, ioj inches.

STAND 20. JOHN
KEIL, LTD. Right.
This mahogany open
armchair, with finely
carved and shaped arms,
and with cabriole legs
at front and rear, of
date c. 1740, is similar to
another chair recorded
in Macquoid's Diction-
ary (fig. 147) at Hare-
wood House, York-
shire. It is 39 inches
high, 29i inches wide.

STAND 63. HOW (OF EDINBURGH), LTD. Left.
The celebrated 6-inch high, Mary Tudor, silver-gilt
Swaythling Tankard, by Robert Taleboyes, London,
1556; the prototype of the English silver tankard, the
next in date being that of 1567 in the possession of the
Armourers' Company. The decoration up the back of
the handle terminates in a superbly marked thumb-
piece. Dated by the hall-marks and also by the en-
graved date 1556 (the 5's inverted) on the lid and on
the handle, and having initials WW pricked on the lid.
(See further reference in 'Connoisseur's Diary').

123

STAND 28. WARTSKI, LTD.
Left. One of a pair of royal gold
bracelets, by Rundell, Bridge and
Rundell, with detachable roses
set with diamonds and the
crowned monograms of the King
and Queen over bleu-de-roi en-
amelled fields. They were pre-
sented at the coronation of
William IV and Queen Adelaide.

STAND 68. H. C. BAXTER. Rig /if. One of
two interesting examples of Sheraton urn
tables on this Stand.

STAND 47. GARRARD & CO., LTD.
Above. Six inch high inkstand of globe
form, fitted with bottles, pen, pencil and
pad: maker John Robbins, 1799.

STAND 34, SYDNEY L. MOSS, LTD.
Left. An 11-inch diameter late seven-
teenth-century spinach green jade bowl,
the four handles with loose rings, the
exterior carved in relief with the eight
Buddhist Emblems.

STAND 24. THE LEGER GALLERIES,
LTD. Left. George Romney. A Sketch:
Portrait of Hayley as King Lear, canvas,
22A \ 14! inches. On this Stand also is a
Portrait of a Young Girl by Nicholas
Maes.

STAND 45. TEMPLE WILLIAMS, LTD. L<-/f. In addition to this Louis XVI mahogany
commode, with marble top, by M. Magnien, on this Stand can also be seen a Regency dwarf
cupboard veneered with ebony with gilt-bronze ornamentation and some Regency furni-
ture designed by Frederick Crace in the 'Brighton Pavilion' manner.

124

Renoir's 'Venus Victorious in

Bond Street

RONALD PICKVANCE

~) ENOIR'S Venus Victorious here seen embodies the
triumph of the Goddess of Love holding the golden apple
warded to her by Paris. She stands slightly above lite-size, her
mn firm yet supple, her gesture eloquent but not histrionic,
'ictonous in legend, she is triumphant in sculptural fact,
jlendidly affirming Renoir's grand, culminating vision of the
•male nude. Yet the circumstances surrounding her 'birth were
tuque m the whole history of sculpture.
Her godfather was the wily dealer Vollard. He realized that
ic tw o pieces which Renoir had produced in 1907-08 — a marble
ledallion and a wax-bust of his son, Claude — were really only a
teginning. The desire to sculpt was too strong to be denied by
Physical disablement. Vollard therefore suggested that a young
culptor, Richard Guino, who had studied with Maillol, should
ct as the executant of Renoir's ideas. Guino became the midwife
0 this miraculous birth.

But Renoir himself remained the sole father and creator. The
>hases of the sculpture's evolution arc chronicled by Paul
mesaerts in his book on Renoir's sculpture. They show that
lenoir's supervision was constant, his intervention insistent and
lis participation more complete than in any of the other works
■xecuted with Guino. The prelude began at Essoyes in the suni-
ncr of 19 1 3 : a statuette no more than two feet high, now known
is 'The Small Standing Venus', was made from one of Renoir's
dd drawings. This was the germ, the maquette, for the Venus
Victorious. But first Renoir wanted the support of the ancients.
Te asked his friend Andre to measure certain statues in the
Louvre: 'Not the Venus de Milo, who is a big gendarme, but
:he Venus d' Aries or the Venus dc Medici, for instance, or others.'
T"hc figure was first modelled in clay in the cellar of Renoir's
house at Cagnes. He made a few sketches, apparently on the
cover of an old catalogue to reveal what he intended, while the
young Guino had the services of a model named Maria. The
initial clay model was then cast in plaster. Amid the olive trees of
his garden, Renoir then directed, by means of a pointer, the
modifications he wished Guino to make. The breasts in particular
worried him, and it appears that after the first casting he set
Guino to work again, eventually placing them one inch higher.
The result is that the Venus went through several states before
Renoir was entirely satisfied. The cast in the Tate Gallery, for
example, is dated 1914. Now, the foyer of the Frank Partridge
Gallery in Bond Street has one of the eight casts specially made
by Susse for members of the family (it is numbered 'F', that is to
say No. 6, and belonged to Claude Renoir) and also appears to
be dated 1914. There may be minimal differences of measure-
ment, but the essentials are as clearly stated and as evident in
Bond Street as they are in the upper recesses of the Duveen
Sculpture Gallery.

The first standing Venus was born in the Aegean ; her last
major embodiment symbolically moved from a Mediterranean
olive-grove to a war-enveloped city, where, during the spring
of 19 1 6, she proffered her golden apple — to Paris.

125

Selling at Sotheby's this month

Left above. Selling on June 22, from the collection of Mr. & Mrs. Charles Zadok of New York, this Regalia at Cowes, by Raoul Dufy. Signed and
dated (Cowes, 1929), 52 64 inches. Selling with the artist's certificate. Right above. In a sale of Continental ceramics on June 15 : a Strasbourg Italian
Comedy figure of 'Gilles', modelled after Watteau, from the Henry Levy Collection. See also below.

Left and centre above. In the Continental ceramics sale on June 15: ormolu-mounted, 7| inch high Meissen group of Pantaloon and Columbine, modelled
by J. J. Kaendler ; and a Strasbourg faience group of a shepherdess, 9J inches high. Right above. Another painting to be offered in the Zadok Sale (see
above): Pablo Picasso's Fetntne assise sur une Chaise, signed, 63} 51 inches, painted in Paris 1937-38.

126

3

2

5

I. One from a fine set of twelve Inro, by Kwansai, depicting the signs of the Zodiac. £2,000 (Sotheby's). 2. A 17 inch high Viennese enamel cornucopia
with bands of enamelled silver strapwork, the end terminating with a silver fox mask. £280 (Phillips, Son & Neale). 3. Jacques Lipchitz. Liseuse, ex the
Walter Ross Collection. Dollars 9,250, an American record price (Parke-Bernet, New York). 4. J. M. W. Turner. The Grand Canal, Venice, from the
Guidecca, 41^ x 60 inches, ex Easthorpe Hall Sale, Malton, Yorkshire. £4,300 (Henry Spencer & Sons). 5. An important 3 inch high Romanesque morse
ivory chessman, Cologne, end of the I2th century. £10,000 (Sotheby's). Total for this sale (60 lots) of highly important mediaeval works of art, Limoges
painted enamels and a St. Porchaire Salt (on April 27) : £203,005 (dollars, 568,414 00). £1 =2-79 Dollars.

127

International
Saleroom

6. Unusual faience bowl in the form of a mitre decorated in blue, 30 cm., Schleswig or Copenhagen. D.
3,600 (Eduard Hiinerberg, Braunschweig). 7. Small, 2; inch high, gold vase-shaped pepper-pot, by Andr/
Fogelberg, 1777, an interesting addition to the small corpus of old English gold plate. £220 (Christie.
8. Highly important Mosan Champleve enamel plaque, representing Pentecost, 4 4 inches, c. 1160. BouJ
by Messrs. Frank Partridge for ,£35,000 (Sotheby's), mediaeval art sale quoted on previous page. 9. A supo
miniature of a lady, by Nicholas Hilliard, dated Ano Dni 1602 and inscribed Videtur et Vere est, oval, 2| xl
inches. ,£5,000 (Sotheby's). 10. Louis XV marquetry secretaire, with marble top, ormolu mounts. NF. 26,9
(Palais Galliera, Paris). II. Auguste Renoir. La Lecture, signed, om 50 x Om 42. NF. 212,000 (Palais Gallieil
12. One of a rare pair of 5 inch high Worcester coloured figures of The Turk and his Companion, modell
by Tebo, Dr. Wall period. ,£2,730 (Christie's). 13, William Parry, R.A. Portrait of Sir Joseph Banks ui
Omai, a Tahitian native who accompanied Captain Cook to England, and Dr. Daniel Solander, 59 • 59 incr
,£3>990 (Christie's). 14. One of a pair of Louis XV andirons in gilt-bronze, om 275 high, om 23 wii
NF. 27,000 (Palais Galliera). 15. Rosewood bureau de dame, signed J. C. Ellaume,J.M.E. (M.E., 1754). Dan!
Kr. 40,500 (Arne Bruun Rasmussen, Copenhagen). 16. Extremely rare, II io{ inch, Byzantine mosaic ici|f
Constantinople, 14th century. ,£34,000 (Sotheby's), mediaeval art sale quoted on page 127. 17. Crucifix, J
the Master of St. Francis, panel, 36 27J inches overall, ex Stoclet Collection. Bought by Messrs. Th.
Agnew for ,£100,000 (Sotheby's). 18. An important D.B. wheel-lock pistol, 31 inches, Dresden, c. l6t
stamped maker's mark and bearing the initials DH within a heart. ,£5*000 (Sotheby's).
£l = 13- 71 NF. = 279 Dollars. 1113DM. 19 ■ 34 Danish Kr.

128

The Art Market -
Then (1934): Now (1965)

APART from a feeling of nostalgia, the
.principal reason for looking back through
the pages of The Connoisseur to the art market of
1934 is to try and judge whether or not antiques
and works of art bought then would still be good
investments now.

The art market in 1934 was depressed; in fact
two dealers, who are among the most eminent
of the exhibitors in the 1965 Antique Dealers'
Fair, found customers in those days so difficult to
attract that they considered it worthwhile to
advertise, respectively : a 'Grand Removal Sale',
and a 'Sale of Antique Furniture at Greatly
Reduced and Really Attractive Prices'. Yet the
first 'Fair' opened in a mood of optimism. The
general economic situation was slowly improv-
ing as shown by a steady fall in the number of
unemployed (to 2-1 million, 17 per cent of the
population) and there was a feeling that the
atmosphere of gloom had lasted long enough,
that prosperity would soon return.

Forgetting the unfortunates who were without
work, many still say that they were better off
then, when the pound was worth three or four
times its present value and the average wage was
£3 a week. Yet was this really so? Although
income tax is double what it was, and the pound
so much depreciated, the average wage today is
six times its 1934 level, which would indicate
that as a general rule people have at least 50 per
cent more money in their pockets than they had.

There seems little reason for people to be
unduly pessimistic about the future. In the art
market nowadays it is goods not customers that
are scarce, and prices should rise steadily as the
years pass. Antiques and works of art should at
least maintain their value in to the future ; though,
as will be seen in several cases below, buying
something when it is at the height of fashionable
demand seldom, if ever, proves to be a sound
investment.

As a rough guide to the following analysis of
1934 saleroom prices, if on multiplying them by
four, the result is roughly comparable with prices
today, the articles in question would have
maintained their value, if the total is more, their
owner would have made a profit.

Silver. It is not so uncommon today for a piece
of silver to fetch £2,450, but a 'four-figure bid'
in 1934 was quite exceptional, and in this case
was the sum given for a silver-gilt rose-water
ewer and dish (121 oz. 3 dwt.) dated 1615,
maker's mark a trefoil slipped. By contrast a
sweetmeat dishbyPauldeLamerie(iooz. 15 dwt.,
1738) with a fluted bowl, lion's paw feet, and
applied mantling and shells on the lip, made £78.
This bowl would certainly have proved to be a

fine investment, but would have the ewer and
dish?

Those who collected early nineteenth-century
silver would have been handsomely rewarded.
A dozen silver-gilt dinner plates by Paul Storr
could be acquired for some £75, or about
twenty-five times less than would have to be
paid now.

Furniture. In 1934, oak was king. A James I
'buffet' with three tiers made £304, w-hich was
£42 more than the sum given for a Louis XV
marquetry bonheur-du-jour stamped R.l'.L.C.
Today, the oak piece might have difficulty even
in selling for its 1934 price; the same might be
said for the pair of sixteenth-century Florentine
walnut cassoni carved in high-relief which made
the huge sum of £2,415.

Good investments would, however, have
been made by those who bought a Sheraton
mahogany sofa table for £18 and a George II
gilt gesso table for £96. Likewise £70 would
have secured a Queen Anne walnut bureau-
cabinet. It is quite a jump to the £650 given for
a pair of Chippendale armchairs with dolphins
head feet, but these would probably have held
their value up to today.

In 1934 vast sums were paid for tapestries:
£3,465 buying a Gothic example woven with
a scene from The Great History of Troy; a price
which was nearly equalled by the Si 1,000
paid in New York for a large Ispahan carpet (32
ft. 3 in. x 14 ft. 2 in.).

Paintings. In 1934 a comprehensive exhibition
of British Art was held at Burlington House, at
a time in fact when there was a considerable
demand for certain types of British paintings
which resulted in prices that would be consid-
ered notable even now. For example, a scene of
Children Birds' Nesting by George Morland
sold for £2,940; and a portrait by Romney of
Mrs. Thomas Raikes, £4,935. By contrast, a
pair of London paintings by Samuel Scott
(30 X 47 in.) could make only £630 in 1934,
and a naval battle scene by Charles Brooking
(47 y 75 in.) £273 ; both prices between
twenty and forty times smaller than is common
today. Sporting pictures were quite expensive
even in 1934 — £525 for a J. Ferneley equestrian
portrait of the 1st Earl Howe.

Crossing the Channel to the always popular
Dutch paintings of the seventeenth century, a
river scene by Salomon van Ruisdael realised
£651 (20i X 32^ in., signed and dated 1644),
in contrast to one of today's most popular sorts
of pictures — a still life by J. D. de Heem which
sold for £190 (28 X 39 in.).

Glass, pottery and porcelain. Glass, relatively
speaking, seems to have been very expensive in
1934. £135 was paid for a goblet engraved
with a portrait of the Young Pretender, a rose,
a thistle and the inscription 'Hie Vir Hie Est'. A
glass engraved with an equestrian portrait of
King William III made £44, and an ordinary
wine glass with a white ribbon opaque twist,
£8 ios., the same price as an ale glass on a
baluster stem with a large tear.

Where English ceramics are concerned, a
Chelsea vase and cover painted after Boucher
with cupids desporting on clouds realised £157
in contrast with a set of four Chelsea seasons
which could make only £99. A small Lowestoft
mug inscribed 'A Trifle from Holt' made £84,
rather high perhaps when compared to the
Chelsea figures.

A pair of Sevres Rose Pompadour plates
reserved with painted flowers and birds by
Boulanger and Aloncle made £86, and a large
Delft jar painted in blue by Jacob Hopperstein
with the Rape of the Sabine Women, £79. As
for Italian majolica, a Castel Durante dish
painted with a polychrome portrait bust of a
girl would have been a good buy for £27. It
was attributed to Nicola Pellipario, c. 1520.

No European ceramics could in those days
compare in price with the enormous sums
given for oriental examples: £1,140 for a pair
of small Chinese K'ang-Hsi green-ground vases;
£378 for a pair of famille rose ruby-back
saucer dishes enamelled with quails, butterflies
and flowering plants (these would have been a
good buy); £588 for a 26A inch high sixteenth-
century Ming altar vase, decorated in purple,
yellow and blue with dragons vainly pursuing
the flaming pearl.

Works of art. A miniature portrait of a man
attributed to Nicholas Hilliard in a pearl-hung
frame sold for only £68 in 1934. However,
£1,050 given for a pair of white marble
statuettes of Spring and Autumn signed Clodion,
seems pretty expensive, certainly when compared
with an early seventeenth-century bronze statu-
ette of Hercules, and modestly described as School
of Giovanni da Bologna which made only £52.

Another reversal of taste is seen when a
Louis XVI oval gold and enamel snuff-box by
Julian Alaterre could be won for £120; or a
third of the price of a Limoges enamel plaque of
the Crucifixion, signed by Leonard Limousin
and dated 1536. Even in 1934 Mathew Boulton
seems to have been appreciated — £178 for a
pair of Derbyshire spar and ormolu candelabra
which nonetheless should have proved a worth-
while investment. — David Coombs.

I30

The Connoisseur's Diary

In and around London — during 'The Fair'

LONDON'S leading fine art and antique
'dealers take the opportunity of the holding
of the Antiques Fair at Grosvenor House to
stage intriguing individual exhibitions in their
own galleries. One of the most important this
year will be that organised by Mr. Ronald A.
Lee (The Manor House, H\ fleet) in collaboration
with his partner, Mr. R. T. Gwynn, opening on
June 9 at new, additional premises: 1-9 Bruton
Place. Mr. Lee is already widely known for his
expert knowledge and comprehensive records of
English antique furniture and clocks; and some
remarkably fine examples of both — and also of
paintings and silver — can be seen in this, Mr.
Lee's first West End, exhibition. There is a
unique George II mahogany tripod table, with
the only particular pie crust top recorded in that
it is inlaid with engraved decoration ; an out-
standing pair of gesso torcheres with black and
gold lacquer tops, from the workshop of the
royal cabinetmaker, James Moore; a William
III royal barometer in ebony case and with
silver mounts; the celebrated table clock in
walnut case with silent movement, by George
Graham. This new Bruton Place gallery will,

from June 9, be open daily, and its inception is a
highly interesting introduction to the type of
stock which will be seen there in die future.

International Tapestries

THERE is now an altogether new fashion and
appreciation for the private ac quisition of tapes-
tries. This being so Messrs. V. & C. Sternberg
(37 South Audley Street, London, W.i.) are
putting on what is thought to be the first
exhibition organised by a dealer of very high
quality tapestries from all over the world.
Seventy-nine items, ranging in date from 1480
to 1780, from France, Italy, Germany, Spain,
Scandinavia, Belgium, Holland, Turkey and
England will be on view, and for sale, from
June 9 to 23. The illustrated catalogue is being
sold in aid of the Churchill Memorial Fund.

Exhibition of Watercolours

INCLUDING the eras of 'Victorian', 'Art
Nouveau' and 'Edwardian', the works of the
illustrators represented in an exhibition organ-
ised by the Fine Art Society (June 10 — June 29)
at 148 New Bond Street, London W.i. display

not only .1 strong sense of style and period but
arc also fascinating both artistically and socio-
logically. The exhibits will include: Original
drawings and watercolours for novels, children's
books, etc.; political caricatures; and illustrations
for magazines and periodicals. The period
covered is from 1 840-1940.

The Swaythling Tankard

THIS is a further note to the description of the
Swaythling Tankard (see p. 123). It was first
exhibited at the Burlington Fine Arts Club in
1901 when, because of the initials 'W.W on the
lid, it was said originally to have belonged to
Dr. Wright, Archdeacon of Oxford, who died
in 1 561 and to have been described in his Will as
'Cup and Cover worth from nine to ten pounds'.
This statement is a typical example of the wishful
thinking of some of the early research-workers;
for, in fact, Archdeacon Wright in his Will left
'to Exeter Colledge a standing Cuppe with a
Cover worth nyne or tenne pounds' a descrip-
tion which could never have been intended for
this tankard.

Left below. The only recorded Joseph Knibb clock with this type of broken pediment: this olivewood-case example, 80 inches high, 10 inch dial,
showing at 1-9 Bruton Place, London, W.i from June 9. See first story above. Right below. By kind permission of Mr. Paul Getty, an 'open day' at
his home, Sutton Place, Guildford, has been arranged for June 20 in aid of the building and development appeal of the National Society for the Pre-
vention of Cruelty to Children. Admission by programme only (10/-) from: Mrs. Wilson, Mark Way, Godalming, Surrey. Mr. Getty has also given
permission for a full illustrated article on Sutton Place to be published in The Connoisseur in due course. This view shows the entrance hall, with
paintings by Frans Snyders and Salomon van Ruisdael.

131

'/

Left. Henri Gervex, Portrait of a girl in a hlack straw bonnet, oil on canvas, 23 18 inches, signed with initials. Right. Jules Cheret, Opera Ball (gouache
for poster) 1892, 40 29 inches.

Belle Epoque and
the Ferrers Gallery

ALASTAIR GORDON

THERE is sonic significance in the fact that the phrase La
Belle Epoque is untranslatable effectively into English. The
period covered is the end of the nineteenth century and the begin-
ning of the twentieth. In England it was the Prince of Wales
who set the pace, but the heavy hand of Victorianism made the
self-conscious antics of the fast set seem a slightly pathetic display
of being unconventional. Really serious hedonists took the packet-
boat to Paris, for in France no inhibitions existed from which to
break away.

What did exist as an entente cordiale was a passion for elegance,
wit and style. While the Impressionists and Cezanne were
carving out the future of art, the froth of a million champagne
bottles was convincing aristocracy and bourgeoisie alike that the
golden age of living had arrived. In one sense it had, but the
extravagance of thought and action was a pinnacle which will
never again be achieved. It could not in itself give rise to a great
art. Artists could only act as a mirror, since the way of life of
La Belle Epoque was a work of art per se.

Those artists reflecting the period, however, were by no means
negligibleillustrators. Henri Gervex's head of agirl ina blackhatis
a ravishing piece of feminine charm that Manet must have admir-
ed, and it compares well as a piece of humanistic insight against
Lord Leighton's all too sweet (but beautifully painted) 'Letty'.

Cheret is, of course, the pioneer of the coloured lithograph
poster. Poster art in France was considered worthy of the
attentions of masters like Daumicr earlier in the century, and

Toulouse-Lautrec in the latter part, but it is possible that Tou-
louse-Lautrec would not have developed in this art without
Cheret. The large gouache illustrated here does not have the
flat simplified forms of Lautrec since Cheret was not influenced
by the Japanese print, but it has a froth of sophistication and
deftness of story telling that is titillating. The masked girl would
not be as coquettish without the stiff-backed English gentleman
behind her, and vice-versa; a thoroughly witty work which
was done to advertise an Opera Ball.

There is more wit, this time a triumphantly vindictive wit, in
Boldini's portrait of Count de Kasty, a fading roue who was
cuckolding Boldini. He stands revealed as a man sinking into
ragged poverty, his clothes in execrable taste, the swagger so
obviously simulated as to be more an object of odium than pity.
And vet Boldini does not achieve, indeed does not aim for,
anything greater; consider how Goya would have set about him,
or Rouault. The fact is that the painters of the Belle Epoque are
a wonderfully lucid and adorned looking-glass. Spiritual depths
and agonies of self-expression did not trouble them. The impor-
tance of this exhibition currently mounted by the Ferrers
Gallery, London, is to serve as a reminder that there was some-
thing other than dead Academic pomposities in the late nine-
teenth-century popular art.

We may wish nostalgically for this last of the eras that had
style, but we who are alive today never will sec another, and so
we must be grateful for the chance to taste this record.

132

j in tie gal

lie

pi

Contributed by Adrian Bury

Above left. George Smith of Chichester. Landscape with the three Smith brothers. Canvas 3O2 ■ 33 i in. Messrs. John Mitchell. Above right. Portrait of
Dame Laura Knight at the age of sixteen, painted by Harold Knight when they were students at the Nottingham School of Art.

Dame Laura Knight

THE forthcoming exhibition of Dame Laura
Knight's works in the Diploma Gallery of
the Royal Academy will be an occasion in the
history of British art. It will concentrate collec-
tively and selectively the genius of one of the
most important artists of this century.

No stranger to success and fame, Dame Laura,
unlike many artists, never had to wait for appre-
ciation. It arrived in her youth when she exhibi-
ted a picture at the Royal Academy in 1903 of a
mother and Child, so accomplished that it was
bought by that distinguished artist, Edward
Stott, R.A. Since then she has been continuously
before the public at the Royal Academy, at
other Societies and in galleries all over the world.
And now, within a year or two of her ninetieth
birthday, still vigorous and as inspired and in-
dustrious as ever, Dame Laura can look back on
her achievement with pride. That she will not do
this I know only too well, for her modesty is
not the least phenomenal quality about her tem-
perament. To praise her work is almost to em-
barrass her. 'I am always studying, always hoping
to do better', she said to me the other afternoon
when I was looking at scores of paintings and
drawings that she was considering for this
exhibition. When I told her with deep sincerity
that, as an artist of versatility, she was second to
none during the last fifty years, she demurred
and began exalting some of her contemporaries
above herself. I had to be somewhat emphatic
and say, 'I venture to judge not on individual
drawings and paintings, but on your work as a

whole. It is not so difficult to excel if an artist
devotes his life to one subject, but it is very
difficult to take all subjects as you have done and
interpret them with such memorable truth."

Here in this exhibition the public will see the
beauty and drama of life in the widest sense of the
words, drawings done in the artist's 'teens, land-
scapes and figure-paintings done in Cornwall
before the first World War, the Russian Ballet
to which she devoted years of effort to record
perfectly in line and colour the greatest dancers
of our time.

Is there any other artist who has expressed the
brave antics of the circus with more comprehen-
sive knowledge and feeling for this aspect of
human and animal fortitude? 'I did not begin to
paint the circus till I was past fifty', Dame Laura
told me, 'and then I had to learn to draw-
animals'. Well, her animals stand up with those
by artists who, like Munnings, specialised on
them from the beginning of their careers.

If we want to know about gipsies, Dame Laura
tells us in authoritative accents because she knows
all about them, not as a casual and curious delin-
eator but as one who has shared their nomadic
existence in the caravan and on the heath. Some
of her portrait studies of these dark and elusive
characters are enough in themselves to establish
an artist's fame.

The public will also be attracted by many a
poetic landscape and studies of individual trees.
Then there arc her works relating to war, in-
cluding some of the drawings made at the trial
of the Nazi leaders in Nuremburg.

This exhibition not only confers honour on a

superb artist but adds lustre to the Royal
Academy, of which Laura Knight has been a
member since 1936.

George Smith and Wilson

A BAFFLING problem of English landscape
painting is what and where was the picture by
George Smith of Chichester that carried off the
Society of Arts premium in the 1760 exhibition,
thereby defeating Richard Wilson's Niobe. I
have often wondered as to its quality, especially
as most of the writers on Wilson have assumed
that Smith's work was an indifferent perform-
ance. We know itssubject,compositionand pro-
portions from William Woollett's engraving.

I am fairly convinced that this problem has at
last been solved, for Mr. John Mitchell (8 New-
Bond Street, London, W.i) has discovered the
George Smith landscape from which Woollett's
engraving must have been made unless there is a
replica somewhere in existence. It was therefore
an exciting experience to contemplate this pic-
ture. If really in competition with Wilson's
Niobe I am not altogether surprised that the
judges preferred Smith's tranquil country scene
with its beautifully painted trees, to Wilson's
turbulent landscape, grand as it is. However this
may be, George Smith's landscape is outstand-
ingly good.

The figure interest to the right is of charming
iconographical sentiment for the three brothers
Smith — George, William and John — all land-
scape painters, all interested also in music and
poetry, are seen most naturally posed and happily
symbolising the arts they professed and enjoyed.

133

Art in the modern manner

ALASTAIR GORDON

r

I. Max Ernst, .4 ITnterieur de la vue, 1929, 31 1 ■ 25'ij inches. 2. Jean Arp, Torse Jerbe, Bronze Edition no. 5 5, signed, 1958-60, 30 X 14 X 10 inches.

THE Obelisk Gallery is off the beaten
track of the main dealing centre, but very
much at the heart of the matter when it comes to
serious collecting. For treasured rarities of ancient
art it has an international name. Prc-dynastic
Egyptian, Cycladic, Classical Greek, Indian,
Japanese and Chinese arc at this gallery — outside
the scope of this column excepting the important
fact that so much modern art is directly indebted
to these manifestations of the cradles of civiliz-
ation.

The modern side at the Obelisk is mainly of
surrealism and German Expressionism at their
best. I write this deliberately, since it is easy to
deal in the lesser performances of major Euro-
pean movements : there are more of them and
they are cheaper. The gallery is therefore a
valuable source for collectors looking for the
first rate example. One man shows are seldom
held there but the constantly evolving stock of
paintings and sculpture will satisfy the most
exacting connoisseur.

Of the Surrealists, Max Ernst, Magritte and
Tanguy are always on view, as well as Matta,
Echaurrcn and the lesser known but compelling
Hans Bellmer, who is quite the most exquisite
miniaturist of sensuous erotica living today.
More than most, this gallery owes its high
standard to its sole proprietor James McMullan,
whose flair and instinct is something of a legend,

and who refuses to be seduced by fashionable
ephemera.

Another of the newer galleries which deals in
the best of modern art is the Brook Street
Gallery, for although they are not averse to
giving young contemporaries a good showing,
the main line is the smaller works (their space is
limited) of some of the most refined modern
masters such as Arp, Calder and Giacometti, and
they are now the representatives in this country
of the estate of George Grosz. Drawings,
sculpture and sculptors' maquettcs form the
major part of their stock, and usually of Euro-
pean artists. When so many galleries show the
extravagant brilliance of the contemporary
Americans it is an interesting comparison to see
the cool cultured forms and insidiously attractive
colours of the older civilization. The pace is
slowed down from the explosion of kinetic
energy to the progress that is characteristic of
the momentum of big masses.

The British artists shown at this gallery include
Alfred Cohen, whose landscapes have the look
of ancient stained glass, Eileen Agar, and Robert
van Eyck, who as his name implies is of Dutch
origin, but who has invented a surrealism that is
peculiarly English since he expresses the weird
evolution of growth with shadowy botanical
tonus.

For some fifty years the Redfern Gallery has

been launching artists of high renown. Their
avowed intention is to introduce young British
artists, and perhaps their greatest find (in the
1920's) was Christopher Wood, to that date the
finest English colourist since Turner. They also
produced Paul Nash at that time. Their latest
comet has been Patrick Proctor. Most of the big
names in English art have been shown from
modes as different as Wilson Steer and Victor
Pasmore. Beyond these, they gave the first
London exhibitions of Soutinc — and before the
war at that — also Vieira da Silva, Jawlensky and
Karcl Appel. Such a distinguished list of names
displays a catholicity of taste, and an ability to
evolve with the times. The gallery recently
exhibited the entire collection of Graham
Sutherland's studies for the Coventry Cathedral
tapestry, and a short time later they held an
exhibition of Kinetic constructions, when the
rooms were filled with the sound of whirring
electric motors motivating playfully sinister
objects of metal and glass. A permanent feature
of the Redfern's exhibition space is the very large
stock of contemporary prints, including the
finest of Braque and Picasso to the more modest-
ly priced work of the young and promising.

The galleries: Obelisk, 15 Crawford Street, London
W.I., Brook Street Gallery, 24 Brook Street, W.I.,
Redfern, 20 Cork Street, IV. 1.

134

Paris Dispatch

FROM GERALD SCHURR

Andre Marchand: ten years' painting

TT is seven years since we have seen an
i J.exhibition of works by Andre Marchand, who
in the forties was one of the shining lights of
young painting. The Galerie Jean-Claude
Bellier (32 Avenue Pierre 1 de Serbie until 6
June) is showing this tune forty of his unknown
canvases and twenty-three watercolours from
the years 1955-1965. These works show that
Marchand is as disconcerting and as untiring an
explorer as he was at sixteen. Now, at fifty-
eight, this Provencal imprints his own forceful
personality on every aesthetic he adopts. A
forerunner of 'miserabilism' , inspirer of the
Poetic Reality Group, on the fringe of Surrealism
and occasionally touching on abstraction he has
turned here to a transparent dynamism. In his
landscapes of Belle-Isle, Bourgogne, or the
Mediterranean, and in his sober still lifes, he
remains a perpetually dissatisfied creator, baffling
in the virtuosity with which he passes from one
st\ le, and one technique to another. His trans-
lucent colours, almost like light glazes, contrast
with thick dark pastes making the spectator want
to touch these sensitive and expressive canvases.

The Reopening of Delacroix's Atelier

AT last, after being closed for so long, the atelier
where Eugene Delacroix worked is open to the
public in the charming Parisian Place Furstem-
berg, housed in the buildings attached to the
Abbey church of Saint-Germain-des-Pres. For
this opening exhibition the atelier has been lent
to the Museums Education Service, who, until
June 24 have an exhibition 'The Role of drawing
in the work of Delacroix' ; seventy reproductions,
sometimes disturbingly close to the original,
which show the master's prodigious sense of
movement, and his observant, rapid notes.

Fenosa's Lyricism

APPELLES FENOSA is the poet of sculpture.
The emotional content which seems to animate
his bronzes in no way detracts from his sure
co-ordination and solidity of form. The Galerie
Jacques Dubourg (126 Boulevard Haussmann
until June 6) is showing the latest works in
bronze and plaster of this Parisian Catalan. He
came to France in 1921, was attached to Picasso
and the 'Montparnos', returned in 1929 to
Barcelona, whence he finally departed for Paris
on the eve of the war. A close acquaintance of
Paul Eluard, Supervielle, Cocteau and Francis
Ponge he multiplies the portraits of his poet
friends, in a delicate almost impressionistic touch
which hides a sensitive but solid framenvork.
Fenosa's lyricism is severely controlled; here is
an artist apart, who wants to be free of all labels
and should be given due consideration.

Four exhibitions a month

THE Galerie Facchetti (17 rue de Lille) have just
initiated a new system of exhibitions which
allows the Paris public to see a different painter
each week. The intimate character of these

Tuesday to Saturday hangings, divested of the
important machinery attached to most exhibi-
tions is really closer to that of a visit to a studio.
At the moment Boussac, Guicttc and the Italian
Pulga are showing in turn. Noteworthy in
March were Dcgottcx's 'signes' and Aesch-
bachers 'collages e"clatis'. The latter artist will be
seen again in a few months.

Max Beckmann at Hamburg

MAX BECKMANN can still be considered one
of the most important interpreters of contem-
porary conscience — (Hamburg Kunstwerein un-
til June 11). He lived away from his native
Germany from 1933, first at Amsterdam, then
New York where he died in 1950, aged 66.
Throughout his work he seems to be haunted by
the human face, tirelessly searching, particularly
in his numerous self-portraits, for some inde-
cipherable sign of the meaning of the Creation.
This basic preoccupation can be seen in his
cruelly realistic 'Fernmes'.his characters from the
Court of Miracles which remind one of a Goya
obsessed by the physical downfall of man. In his
carnivals of grotesque figures, too, despondency
does not exclude a great feeling of pity for the
human condition.

Masterpieces from Le Musee de L'Homme

THE bewitching power of the so-called
'Primitive' arts, revealed at the beginning of this
century by some Fauve and Cubist painters, has
without doubt, never been attained by any
civilized art. This magical expression — in its
purity and force — occupies a place in contem-
porary vision which becomes more important
every day. The Societe des Amis du Musee, of
which Baroness Alix de Rothschild is president, is
exhibiting about a hundred most rare and spec-
tacular pieces from national collections, raising
many questions about the 'rencontres plastiques'
betw een peoples of different origins.

The Collections of Lady Hulton in
Germany

FOR the first time an English private collection
is being shown in Germany. Lady Hulton's
collection has grouped together, around fifty or
so works by Paul Klee, paintings by Impression-
ists, by Chagall, and Nicolas de Stael, and by
Mondrian — a canvas of 1914. The exhibition
began its journey at Wuppertal, then Rotterdam,
at the time of writing it is in Frankfurt and will
later go to the State Gallery in Lenbachhaus at
Munich, and finally the Museum am Ostwall of
Dortmund.

Congo Brazzaville, Bakongo, Magic statue.
Wood painted red and white, the body pierced
with iron blades and knives has been ravaged by
woodworm. A resinous paste covers the head.
Two porcelain splinters form the eyes. 86 cm.
high. Musee de l'Homme.

Andre Marchand, Still Life, 1956. Galerie Jean
Claude Bellier.

135

The American Connoisseur

An outstanding American
catalogue- to the Robert
Sterling Clark collection

FOR many a long year Europe has seen its artistic heritage
shrink through the ravages of time, war, pillage and purchase.
Three of those hazards spell destruction. The fourth may mean
that, as on this occasion, our cultural experience is immeasurably
enhanced by superb reproductions which can reach an infinitely
larger public than the originals could ever do. It is with such a
publication that we are here concerned. We refer to the Cata-
logue Raisonne of the Robert Sterling Clark collection of
European and American drawings.*

Until now, this has been a very private collection indeed. Small
sections of it have been exhibited from time to time, but Clark
was a secretive man where his purchases were concerned and
no one really had any idea of the scope and importance of his
collection. He was already a collector of French nineteenth-
century paintings when in 191 3 he bought his first drawing. It
was Rembrandt's beautiful Christ finding the Apostles asleep,
formerly in the Haseltinc Collection in London. It set a standard,
as we now know, for his acquisitions of Old Master drawings
over the next forty years until his death in 1956. By 1955 he had
founded and endowed the Clark Art Institute at Williamstown,
Massachusetts, as a permanent home for his collection, and in
1959 his twenty-one drawings by Degas were put on exhibition
there. This first drew public attention to the collection and
significantly also to the strong personal preferences of the
collector — the breath of life of any private collection — for instead
of ballet dancers, of which there were none, there were a number
of studies of horses. Clark was, in fact, a famous breeder of race
horses, including 'Never Say Die' with which he won the Derby
in 1954 and which he presented to the English National Stud in
1956.

The catalogue lists 368 drawings. They span four centuries and
originate from all over Europe and, for the nineteenth century
only, from the United States. Among the outstanding drawings
of the sixteenth century are two by Diirer — one a large sheet of

* Drawings from the Clark Institute. A Catalogue Raisonne' of the Robert Sterling
Clark Collection of European and American Drawings. 16th through tgth centuries at
the Sterling and Francine Clark Art Institute, Williamstown. 2 volumes: by Egbert
Haverkamp-Begemann, Standish D. Lawder, and Charles W. Talbot, fr. (London:
Yale University Press. £13 gs. $37.30.)

Animal Studies drawn in all probability at the Zoo in Brussels,
formerly in the Pembroke Collection at Wilton; the other a
Head of a Young Man with an enigmatic expression reminiscent
of Leonardo. From the circle of Leonardo himself comes a
typical Head of a Woman. Central Italy is represented by a Nude
Male Figure seen from behind which used to be attributed to
Signorclli but which is now generally accepted to be by Timoteo
Viti of Urbino, and by a Madonna and Child with Angels by Fra
Bartolommeo which is believed to have been in the possession of
the father of all English collectors, Thomas Howard Earl of
Arundel, in the days of Charles I.

The seventeenth century gives us a Portrait Drawing of Arundel
himself, clad in armour and holding the golden baton of Earl
Marshal of England. It is by Rubens at the very summit of his
powers, and is the preliminary study for the oil sketch in the
National Portrait Gallery in London. The thirty-nine drawings
from the eighteenth century include a study by Watteau of a
Woman with a Fan. This lady appears in Les Plaisirs du Bal at the
Dulvvich Gallery where she has acquired an admirer and has
turned her head to talk to him. The strength of this part of the
collection lies, however, in the dazzling array of Ticpolos,
including four by Giambattista from the Orloff Collection, and
five by his son Domenico. Wonderful drawings, all.

Yet, when all is said and done, they follow a well established
pattern. It is when we come to the comparatively uncharted seas
of the nineteenth century that we realise Clark's extraordinary
flair for picking the winners of the future. Who, even today, has
heard of Jules Cheret? Look at our illustration ! It is the cover for
the score of the Aimons-nous Waltz. Here is the very spirit of the
dance, by one of the greatest masters in graphic terms of music,
comedy and pantomime. Clark owned twenty-six. He was also
an immense admirer of the American, Winslow Homer, who
is represented by twenty drawings or watercolours. The day of
his international fame is still to come. Turning to the catalogue
itself, it is in two volumes produced under the guidance of E.
Haverkamp-Begemann. The first volume contains the text, and
is a monument to painstaking team work and clear presentation.
Entry by entry, every fact is noted and every expert opinion

136

fules Cheret. 'Aitnons-Nous'. II J X 14^ in. Cat. no. 87 The Clark Art Institute.

*

y

i

cited. In addition, commentaries are provided which are a joy to
read. Here is a random sample:

'Three lawyers, looking impressed by theirownimportance,are
conversing in a hallway of the Palais de Justice. Even among them-
selves they cannot refrain from histrionics. Daumier expresses
this aspect of their personalities not only in their hands and faces
but also in their feet which manoeuvre for dramatic stance.'

The second volume contains 227 plates. In our opinion, these

reproductions could not be bettered. Yet what purpose, we may
ask, does this publication really serve: We believe it is as near
perfect a text book for students and amateurs alike as could well
be devised. Just because the collection is not a private National
Gallery, where every school must be represented and every gap
tilled, its catalogue becomes an adventure of the mind where
scholarship goes hand in hand with the personal taste of a great
and discerning art lover — the late Robert Sterling Clark.

137

138

The New York conservation of
ia peripatetic portrait by

John Singleton Copley SHELDO

ON 25th January, 1771, John Singleton Copley of Boston,
Massachusetts, directed a letter1 to his friend, John Green-
wood, announcing the completion ot his portrait of Greenwood's
mother, Mrs. Humphrey Devereux. Greenwood, a painter and
resident ot Boston until 175^, had become a successful art dealer
in London. In a letter dated 23rd March, 1770, he commissioned
Copley to paint his mother, the former Mrs. Samuel Greenwood,
as he was 'very desirous of seeing the good Lady's focc as she now
appears, with old age creeping upon her'. The portrait appears to
have been over long in the making. The delay may well have been
due, as Copley claimed, to the inconvenience for the Old Lady to
come from her home near Marblehead 'the weither being so very
hot'. It was finally shipped to England in time for the 1771
exhibition of the Society of Artists of Great Britain.2 On 1 6th
June, 1771, Benjamin West wrote to Copley: 'Your Picture of
Mrs. Greenwood was exhibited and did great honour.'

Seventy-two years later, Dr. John Danforth Greenwood, a
grandson of the painter John, sailed with his family from London
to New Zealand on the good ship 'Phoebe'. He settled in the
town of Motueka, where he practiced medicine and enjoyed a
distinguished career in education and in affairs of state. There is
reason to believe3 that the portrait of Mrs. Devereux accompanied
Dr. Greenwood on that voyage of 1843. It has remained a posses-
sion of the family in New Zealand. Scholars of Copley's colonial
period, although aware of its antipodean location, have never had
the good fortune to view the portrait.

In 1952, Charles Hopkinson, another Boston portrait painter
of eminence, went to New Zealand to visit his daughter. While
there he painted a portrait of Miss Elizabeth Greenwood of East-
bourne. In her home he saw the portrait of Mrs. Devereux and
withsome astonishment recognized the distinctive style of Copley.
Miss Greenwood who knew full well its provenance was appar-
ently unimpressed with Hopkinson's connoisseurship and is said
to have remarked 'Of course it's a Copley, and why not?' Follow-
ing Miss Greenwood's death the painting became the joint
property of other members of the family.

In November, 1962, Miss Lois Bingham of the United States
Information Agency in Washington approached me, as director
of the Conservation Center at the Institute of Fine Arts of New
York University, with an intriguing proposal. A portrait of Mrs.
Devereux by Copley had recently been deposited by descendants
of the sitter on long term loan with the National Art Gallery of
Wellington, New Zealand. Mr. Stewart Maclennan, director of
the Gallery, was concerned over the poor condition of the por-
trait. According to the family the picture had noticeably 'faded'
in recent years. Because of the high value placed on Copley's
portraits, particularly those of his colonial period, Mr. Maclennan
was reluctant to have it treated locally. The United States Infor-
mation Service in Wellington felt, since the painting was by one

I. Mrs. Devereux by Copley photographed by normal illumination before
treatment. Cracked and encrusted varnish reflects light. Discoloration of
the varnish obscures the subject. Two repairs are visible in the left back-
ground.

of America's most revered portraitists, it would most appropriate-
ly be restored in the United States by a qualified person experi-
enced in treating Copley's work. Miss Bingham proposed that
we at New York University's Conservation Center agree to pre-
serve and restore the painting as an international cultural gesture.
A series of explicit technical photographs of the painting had
been taken in New Zealand. It was evident from these that the
paint was extensively cracked and the varnish deteriorated. Evi-
dence of previous repair and restoration was confirmed in the
photographs taken under ultra-violet and by infra-red rays. The

139

2. Mrs. Devereux by Copley, ultra-violet fluorescence photograph. The
dark areas are later overpaintings.

very excellent photographs Miss Bingham showed me were
enticing.

Pleased and honoured by the request, we at the Center agreed
to undertake the project of conserving the portrait without re-
imbursement. Our only conditions were that an advisory com-
mittee be appointed to oversee our procedure in examining and
treating the painting; that fine arts insurance against fire, theft
and damage (other than that resulting from negligence in conser-
vation procedures) be provided while the painting was on our
premises; and that permission be granted the Conservation
Center to use, for publication and educational purposes, any
photographs and treatment records made of the painting. These
conditions were agreeable to the United States Information
Agency and to the National Art Gallery of New Zealand. A com-
mittee was selected composed of Miss Lois Bingham ; Mr. O. Paul
Gabites, New Zealand Consul General in New York; Mr. Albert
Ten Eyck Gardner, Associate Curator of American Art, Metro-
politan Museum of Art; and Mr. Lloyd Goodrich, director of the
Whitney Museum of American Art. While the committee was
in no way to be responsible for errors on our part, it was to over-
see, advise and in general to be cognizant of our proposals and
procedures.

Not until one year and a half after our negotiations had begun,
was the painting removed from its frame in New Zealand, very
carefully packed, and shipped by air express to New York. It
arrived safely in April, 1964. The frame travelled separately by
ship. Our first task was one of detailed examination to discover
and record its condition and to determine an appropriate course
of treatment.

Our examination revealed that the canvas, measuring 40 X 32
inches, had been lined with a glue-paste adhesive many years ago.

3. Mrs. Devereux by Copley, infra-red photograph. Confirms the extent of
overpainting revealed by the ultra-violet fluorescence photograph and
reveals in part white lead lutings in the two repairs in the left background.

We suspect this may have been done in England shortlv before
the journey to New Zealand. The lining fabric, extremelv de-
graded, brittle and darkened with age, hung free from the stret-
cher in a number of places and no longer contributed support to
the structure of the painting. The tacking edge of the original
linen canvas was still present; it had not been trimmed away as
has so often been done by picture liners. Two patches, obviously
subsequent to the lining, had been applied to the reverse to repair
ruptures in the canvas and paint. The current stretcher appeared
to be a replacement for the original stretcher since it contained
only holes produced by tacks presently holding the lined canvas.

The paint, heavily veiled by darkened and aged varnish of
irregular thickness, was visually characteristic of oil. Normal age
cracks of narrow aperture were discernible in most of the flesh
tones and in other areas containing an admixture of white lead.
The darks, including the background and shadows, were randomly
disfigured with wide aperture cracks resulting from contraction
of the paint. In the upper background the extent of shrinkage
was so extreme that the paint displayed the pattern and texture of
alligator hide. Less exaggerated traction crackle was also present
in the surface of the table in front of Mrs. Devereux. Where
cracks of this kind had formed, the light toned ground beneath
was sharply revealed, reduced in visibility only by the discoloured
varnish. Low powered microscopic examination disclosed two
distinct layers of varnish. The lower of these next the paint had
contracted and formed discrete islands of dark brown glassy
material : islands which were large and thick over areas of dark
paint, small and thin over the lighter areas. This layer of varnish
had contracted to an even greater extent than the paint beneath it.
It had 111 fact very probably exerted stress on the paint beneath
and contributed to its shrunken state. Covering these islands was

140

4. Mrs. Devereux by Copley. Detail of face before treatment. Cracked and
encrusted background reflects light. Discoloured varnish fills interstices of
brushwork in flesh tones.

a continuous varnish layer apparently composed of several coats
of yellowed soft resin applied at subsequent intervals of time.

Two ruptures in the paint corresponding to the patches on the
reverse were situated in the left background. These had been
clumsily luted with a paste of white lead and liberally overpainted.
The extent of overpainting was clearly indicated in the ultra-
violet fluorescence photograph and was confirmed as well by the
infra-red photograph. Varnish quite recently applied to the por-
trait gave gloss to the rather warty surface of the layers beneath,
but did little to make Mrs. Devereux more visible.

Although Copley sometimes employed a palette of wide
range, m this portrait of an elderly woman, he limited himself
mainly to earth colours, white lead, carbon black and Prussian
blue. The table in front of the sitter is a red mahogany composed
largely of red earth colours. Mrs. Devereux wears a brown satin
dress with black and white accessories. The upholstered chair in
which she sits is painted with Prussian blue. A radiograph of the
head and figure shows no change or hesitation on the part of the
artist.

Because of the deteriorated nature of the lower layer of varnish
and because there was no indication of cleavage between paint,
ground and canvas, the decision was reached to remove as much
of the varnish as we safely could, before removing the old lining
and replacing it. Removal of irregularities in the varnish would
insure greater safety to the paint when the adhesive was scraped
from the reverse of the original canvas. After appropriate tests
had been made, a mixture of solvent and diluent composed of
acetone 40%, diacetone alcohol 10% and paraffinic petroleum
distillate 50% was used. While this mixture readily dissolved the
upper layer of resin, it acted very slowly to form a gel of the
darker, encrusted varnish layer beneath. Cotton tipped applica-

5. Mrs. Devereux by Copley. Detail of face during treatment showing var-
nish removed from one side.

6. Mrs. Devereux by Copley. Detail of face after removal of varnish.

141

7. Mrs. Dcvereux by Copley. Detail of background. Contraction has produced alligatoring of paint, revealing the light toned ground beneath. 8. Mrs.
Devereux by Copley. The painting after relining and cleaning. The two areas of old damage seen in the background have been luted with gesso. 9. Mrs.
Devereux by Copley after completion of the conservation treatment.

tors charged with this solution were rolled over the surface. As
the resin gelled or dissolved it was taken up with dry cotton
swabs. Much of the varnish removal was accomplished under a
stereoscopic microscope at 7 to 10 times magnification.

It had been concluded that only incomplete varnish removal
would be attempted in dark areas of the painting where the paint
had alligatored extensively. Test cleanings in these areas had
shown that the highly contrasting white ground, revealed in the
wide aperture cracks, falsified the colour and value of the area
perhaps even more than the coating of discoloured varnish.
Therefore, during this initial cleaning, the varnish in the back-
ground, in the shadows under the table and in the drapery was
removed only in part. Where the paint had not suffered the wide
traction crackle, cleaning was much more complete. Virtually all
the varnish was removed from the flesh tones, table top, blue
chair and lighter areas of the costume. In removing the old over-
paint, a policy similar to that described in our treatment of the
varnish was followed. That which covered the two areas of re-
paired rupture was left untouched until after structural consolida-
tion of the painting. Elsewhere ovcrpaint covering parts of the
chair and background, already indicated in the preliminary
examination, was cleaned away with the upper layer of varnish.
The presence of the overpaint was found to be completely super-
fluous, as it covered neither loss nor deterioration.

With the removal of varnish and overpaint carried as far as
seemed safe, the process of relining was begun. First the surface
was sprayed with a 6% solution of polybuty] methacrylate4 in
xylene to provide a continuous protective film over the paint.
When this was thoroughly dry a facing of mulberry tissue paper
was applied with starch paste.

With the paint held together and protected from the front, the
canvas was removed from its stretcher and placed face down on a
clean, smooth surface. The patches and very brittle lining fabric
were peeled from the reverse. The old lining adhesive which re-
mained attached to the original linen was carefully scraped off"

with a scalpel. The canvas was void of any inscription. It was
comparatively strong and reasonably flexible except at the tack-
ing edges where it was cracked and weak. The tacking edges were
preserved and retained attached to the painting.

On a new tightly stretched natural linen, the canvas was
rclined with a wax resin adhesive composed of the following
parts by weight: beeswax 6, microcrystalline wax 6, damar resin
2, rosin 2, and gum elemi 1. Lining was done on a vacuum hot
table at 1400 — 1450 F. When adhesion was complete and the
painting had been returned to room temperature, the facing was
loosened with water and xylene applied alternately and all traces
of paste, paper and methacrylate removed.

Heat and atmospheric pressure used in relining had softened the
old varnish remaining in the background and shadow areas,
causing it to flow together and to form a continuous film with a
relatively smooth surface. These areas were further cleaned with
xylene 65% and isopropyl alcohol 35% reducing still more, but
not completely removing, the varnish. The two areas of old rup-
ture were cleaned and the white lead luting chipped away with
instruments as far as safety permitted. Much of the luting had
been spread over original paint; in fact it was the removal of
overpaint and luting in the lower left background which brought
to light a fragmentary Copley signature followed by the date
1 77 1, cracked but undamaged.

On completion of the cleaning, the painting was again con-
solidated with heat and atmospheric pressure on the vacuum
table to insure structural continuity possibly disrupted by solvent
action. It was then stretched on a new expandable stretcher with
mitred corners. The surface was sprayed with damar in xylene.
Losses in old ruptures were luted with gesso. These were in-
painted with pigments ground in polybuty] methacrylate, thinned
with damar varnish. Inpainting was limited to the two areas of
rupture and to wide aperture cracks revealed in areas of test
cleaning. On completion of the inpainting, the portrait was again
sprayed with damar in xylene. In order to produce an all-over

142

BtKnWB

varnish him of relatively uniform thickness, application was
made more heavily in areas where the old varnish had been com-
pletely removed. A final, very thin coating of durable polyvinyl
acetate5 in toluene was sprayed over the tender damar film to
protect it from mechanical damage and oxidation, and to reduce
its tendency to bloom.

To protect the painting against abrasion from its frame, strips
of aluminium projecting slightly beyond the plane of the picture
were attached to all four tacking edges. A backing of cardboard,
secured with screws to the reverse of the stretcher, shields the
canvas from accidental pressures and accumulation of dust
between canvas and stretcher.

The treatment described above is neither unusual nor novel.
Decisions on procedure and extent of varnish removal, as well as
on what materials to use were dictated by the structure and con-
dition of the painting. It was helpful to have an advisory com-
mittee with which to discuss and weigh alternatives. I wish to
express sincere gratitude to each member of that committee.
Special thanks are due Mr. O. Paul Gabites for his generous help
in furnishing data on the history of the painting. Our Conserva-
tion Center is devoted to teaching as well as to research; the
examination and treatment of the portrait permitted our students
to follow in detail the problems in deterioration presented by this
particular painting and to observe our solutions to those prob-
lems. The opportunity to co-operate in the preservation of John
Singleton Copley's Portrait of Mrs. Devereux was a privilege for
all of us.

NOTES

1 Letters mentioned in the first paragraph are all published in the Letters and Papers
of John Singleton Copley and Henry Pelliam, 1739-1776, The Massachusetts Historical
Society, Boston, 1914: Copley to Greenwood, January 25, 1771, pp. 105-106;
Greenwood to Copley, March 23, 1770, pp. 81-83 ; West to Copley, June 16, 1771,
p. 116.

2 Catalogue of the Society of Artists of Great Britain, 1771, p. 4, No. 22 A lady,
half length.

3 Family tradition indicates that the painting went to New Zealand in 1 843 with
Dr. Greenwood. That it was there in 1873 is confirmed by A. T. Perkins in his
Sketch of the Life and List of Some of the Works of John Singleton Copley, Boston, 1 873,
Supplement, p. 4. The editors of the Letters and Papers of John Singleton Copley
and Henry Pelham, 1739-1776 in a footnote on page 1 16, however, place the paint-
ing in Lord Lyndhurst's sale of 1864 in England. According to the note a man
named Anderson, who saw the picture at the sale, described it as a portrait of an old
lady leaning on a Pembroke table.

4 The copolymer of n-butyl and iso-butyl methacrylatc, Lucite 46, manufactured
by E. I. Dupont de Nemours and Company.

5 Vinylite AYAF manufactured by the Bakelite Company, a division of Union
Carbide and Carbon Corporation.

10. Above left. Mrs. Devereux by Copley. Portion of background in area
of former damage. A fragmentary signature was uncovered together
with the date 1771.

A. Nineteenth Century map of New Zealand showing the location of
Motueka where Dr. Greenwood settled in 1843.

[ 4 ]

Mr. THOMAS BARRO W, .Vs. 18, at Mr. P,nny\
Stnt-gste, Twt.

1 1 Portrait of a gentleman.

Mr. BURDET, Lmrfml.

12 View of RidclifTe's library, and St. Mary's church, from

the area in All Souls college, Oxford.

Mifi BENWELL, Warnick-courl, Warxack-Um.

13 Three portrait?, in miniature.

14 Portrait of a young lady, in crayons.

1 5 Portraits of two young ladies, ditto.

Mr. B E A U V A I S, at Mr. Bryant, tte Blm Bjll, in St.
Martin 't-firttt, Leicefier-JUld:.

16 Two ladies, in miniature.

Mr. BROCKMER, BrUpi-JIrttt, Cntnt-gardtn.

1 7 A lady, in miniature.
1 3 Ditto.

19 A clergyman.

Mr. CANTER, Sunt Mtlten-Jlrul, Grtfitntr-fiputrt.

20 A tricwof the Elcurhl, taken on the fpot.

21 A view of London fiom the Adclphi.

f^/ ta A lady, half length.

Mr. C A R W A R D I N E, at Mifi Baitr\ a millintr, in
Kiag-Jhtrt, Cmrnt-garirm.

23 A portrait of 2 lady.

Mr. CARVER,*/ Mrs. Spurt, Lmg-Acrt, Ki. 77.

24 A larullvipe and figores.

B. Page 4 from the Catalogue of the Society of Artists
of Great Britain, 1771.

143

The Connoisseur in America

Francisco Bayeu. Portrait of Don Pedro Arascot. Recently acquired by the Wadsworth Atheneum,
Hartford, Conn.

M-L D'OTRANGE MASTAI

Bayeu Portrait for Wadsworth

THE dignified portrait of the Spanish
grandee, Don Pedro Arascot, by Francisco
Bayeu will be immediately recognized by visitors
to the great exhibition 'Goya and His Times'
held at the Royal Academy in London in 1963-4,
when it attracted special attention, as this work
of particular interest to Goya students had
nevertheless been largely unknown till then to
the art public. Signed and dated 1786, this ex-
cellent example of Spanish art of the late eight-
eenth century has now been purchased by the
Wadsworth Atheneum, Hartford, Connecticut.
To place it in the proper perspective, we
should recall that Francisco Bayeu, albeit a
gifted and highly competent artist, is necessarily
dwarfed by comparison with his genial contem-
porary, Goya. Bayeu was born in Saragossa,
where he studied under a minor painter, Jose
Luxan (or de Luzan). Later, in Madrid, Bayeu
studied under Antonio Gonzalez Velasquez.
When the German painter, Anton Raphael
Mengs, was commissioned to paint some decor-
ations for the new Royal Palace, Bayeu was
summoned as his assistant. These frescoes were
the first of many that Bayeu was to paint for
the Royal palaces, churches and other buildings
in or near Madrid and neighbouring Toledo
and Aranjuez.

In spite of such accomplishments, Bayeu's
chief claim to our interest must remain his con-
nection with Goya, both professional and per-
sonal. It was Bayeu who arranged for Goya to
become a member of Mengs' 'crew' of sub-
sidiary muralists when the German artist was
appointed Royal Painter to the Spanish court.
The two artists — i.e., Bayeu and Goya — were
separated chronologically by only a little more
than a decade (Goya was born in 1746 and Bayeu
in 1734) but this small difference nevertheless
meant that Goya was still a wild young blade
when Bayeu was already a settled and mature
personality. In 1773, Goya married Francisco
Bayeu's sister, the long-suffering Josefa, and it is
this event — that could have been expected to
bring the two men together in closer companion-
ship— that was to bring about the eventual rift,
rather than some sordid rivalry or professional
jealousy. The marital unhappiness of Josefa
Bayeu (an exemplary wife: she bore Goya no
less than twenty children) naturally enough was
deeply resented by her devoted brother.

From all we know about him, Bayeu there-
fore would appear to have been an honourable
and kindly man, one who almost certainly must
have played le beau role in the relations with
Goya. We can hardly doubt that the majority of
their contemporaries would be justified in hold-
ing him in far higher esteem than the lawless and
irrepressible Goya: a dangerous radical, to boot,
under scrutiny by the dreaded Inquisition, and
whom only the favour of the highest in the land

kept from falling into the pit of the damned.
Yet, if we now consider Bayeu worthy of
special attention, it is only after all because of the
faint reflection of some stray ray from that dark
Saturnian star in the firmament of art, the heretic
and rebel Francisco Jose de Goya y Lucientes.
Bayeu, in contrast to this great precursor, was

uncompromisingly a man of the ancient order,
in the one land where it was still possible to be
that. We must accept him as such, both as man
and artist, with his unique blend of eighteenth-
century grace, honest and painstaking realism,
and general overcast of earnest Spanish gravity
that ennobles even the commonplace.

T44

Portraits by Bayeu have frequently been
assigned as early works by Goya. The A then-
bum's new acquisition, being signed and dated,
is therefore most important. The colours of
Arascot's uniform, a red waistcoat and blue coat,
both with gold braid trim, are strikingly typical
of Goya and one i.m understand, in respect of
such details, the confusion that lias existed bet-
ween the two painters.

In 1788, Bayeu was made Director General of
the Royal Academy of Madrid and painter-in-
ordinary to the King. On his death in 1795, he-
was succeeded by Goya as Court Painter and
Head of the Academy. Among Bayeu's rare por-
traits: a charming one of his daughter Feliciana
in the Prado, Madrid; a handsome portrait of
Charles IV; and a brilliant portrait of Donna
Anna Mclizi de Eril, mother of General Palafox
exhibited in the museum at Huesca.

Robert Dash

IN his recent one-man show at the Osborne
Gallery, New York, this young American artist
demonstrated that he has graduated aim suma
hittde from abstract (his first interest) to fine
'realistic' work that reveals him a born painter.
Yet it should be understood — and this is also the
reason for the quotation marks above — that this
new work, chiefly landscapes, with a few interior
scenes — is incontrovertibly realistic only in the
sense of visual relationships easily and immediate-
ly recognizable. It is certainly not realistic in any
prosaic sense, and there is no possible way in
which it could ever be, since all these creations
arc pure fancy, of a high poetical order, albeit
aided and abetted by memory. What emerges
from this blend is a highly personal vision of
nature, expressed in a solid and eloquent painter-
ly idiom, with essential shapes rendered with
rare economy while the wealth of imagination
of a poet (which in fact Mr. Dash is, as well as a
professional art critic) is translated into colour:
in 'Vermont Studio', shown here, a cool white
light flooding the quiet, empty room serves but
to bring out unsuspected nacreous variations on
the plain walls, and an ordinary hammer be-
comes an object of exquisite preciousness.

However, what might be termed the silvery
mood of this painting is not prevalent in the
series of paintings shown in the recent show. As
a rule, the sonority is rather golden, warm and
deep-throated, with a full richness that enchants
in contrast with the cold jejuneness that prevails
in so much of contemporary art. This young
painter of great promise is equally at ease as
muralist or easel painter, which would seem the
winning recipe for a highly successful career.
Three of his works are included in the two-year
circulating exhibition 'Landscapes by Eight
Americans' selected and sponsored by the Mus-
eum of Modern Art, New York.

'Topolski's Chronicles'

THE internationally famous Polish artist, Feliks
Topolski, whose style Augustus John once
characterized as 'only a line, but what a line',
has been showing at the Hallmark Gallery, New
York, for the first time in America, almost all of
the issues of his renowned 'Chronicles' : a series

of broadsheets, on rough butcher paper, first
undertaken in 1953 and published and distri-
buted by the artist twenty-four times a year.
Apart from their historical interest, these pieces
prove the truth of the statement of George
Bernard Shaw, who once called the artist 'an
astonishing draughtsman'. The great playwright
went even further than this, and expressed the
opinion that Topolski was 'perhaps the greatest
of all the impressionists in black and white'. One
should be chary of the artistic judgements of
literary men, too often swayed by their own
stylistic bias and overflowing imagination. It is
easy of course to see why Topolski's style, at
once subtle and mordant, and at times plumbing
extraordinary psychological depths, should
present special appeal to another great social
satirist.

In his 'Chronicles', and in all his work gener-

ally, Topolski pictures the pageant of our times
with true grandeur and the detachment (both
artistic and personal) needed for such a task. The
brilliant Warsaw-born artist — now a British
subject — is 'on the spot' wherever the momen-
tous takes place, and the present show includes
coverage of such diverse events as Pope Paul's
journey to the Holy Land, American political
conventions, and . . . English cricket matches.
Among the great whom he has known and
sketched over the course of years : Sir Winston
Churchill, Presidents Truman, Eisenhower,
Kennedy, and Johnson — as well as Elvis Presley,
Malcolm X, and various other fugitive and
dubious 'celebrities' who, for better or for worse,
have left their mark on our times. The famous
and the infamous alike are grist for Topolski's
mill — in the great tradition of the 'chroniclers'
of the past, for whom the artist-reporter enter-

145

Feliks Topolski. Allies Day Parade, London. 12} ■ 15A in. In a Private American Collection.

Above. Teapot, circa 1740-50. One of a hundred pieces from the collection of The Reverend and
Mrs. Benjamin J. Lake, recently shown under the title 'Chinese Export Porcelain' at the Everson
Museum of Art, in Syracuse, New York. This is an example of armorial porcelain, bearing as central
decoration the arms of Cooke quartering Warren with Twysden in pretence. This remarkable group
was started by Mr. Lake about 1938, and has been extensively built by Mr. and Mrs. Lake during the
past ten years.

tains an affection tinged with something that
amounts to veneration. Is he not indeed himself,
in our own days, the best example of all the
worth and merit that should go with the high
title of 'chronicler' ?

In addition to Topolski's Chronicles, mounted
chronologically, the show at Hallmark included
a number of the artist's personal possessions,
including correspondence with George Bernard
Shaw (several of whose plays Topolski illus-
trated), some photographs of the painter with a
number of world figures, books illustrated by
him, and part of his collection of eighteenth
and nineteenth century 'chronicles' (i.e., illus-
trated social commentary, such as that of
Hogarth and Daumier, to name but the
greatest).

Topolski became well known among the
general public in America through his illustra-
tive work in Vogue, Fortune, and a number of
large American magazines. His works may be
found in many major museums from London to
the Far East.

The most moving aspect of his work however
still remains the splendid drawings and washes
done in England during and shortly after the war.
The picture we reproduce here is not only a
great work of art but depicts a great moment in
human history with magnificent enthusiasm and
dignity. We are fairly swept on with the cheer-
ing crowd, in the wake of the great horseman,
to the symbolical Victory figure at the end of the
vista. Only a great poet and artist is able to raise
reality to that high visionary level.

146

Above. Two extremely large decorative paintings by the Italian artists Fran-
cesco and Gian Antonio Guardi have been acquired by the Washington
National Gallery. Considered one of the greatest art finds of the century, the
paintings were discovered rolled up in a shed of an old house in Dublin in
1957. They were covered with layers of discoloured varnish, and naturally
their authorship was unknown. Their advent on the art scene in 1959 created
a sensation. At once acknowledged as the work of Guardi, they were put on
exhibition in the Royal Academy in i960. The two paintings illustrate scenes
from the First Crusade, according to Tasso's great epic Jerusalem Liberated.
(Painted in 1755-60, the two pictures are based on Piazzetta's illustrations in a
1745 edition of the Renaissance masterpiece.) Both once formed part of a
series of decorative panels in an unidentified villa on the Venetian mainland.
They were bought by an ancestor of the Earl of Bantry while on a 'grand
tour' at the beginning of the nineteenth century. They hung in Bantry House,
Cork, Ireland, until inherited by Mrs. Shelswell- White. The two brothers
Guardi probably collaborated on this series, as was frequently the case in the
great Venetian artistic 'dynasties' — the Bellini, Tintoretto, Veronese, and
Tiepolo families. These paintings were mentioned in the course of a discussion
of the problems of Guardi attributions by Staale Sinding-Larsen, The
Connoisseur, June, 1961, p. 27. The one illustrated here shows 'Carlo and
Ubaldo resisting the enchantments of Armida's nymphs'. (98J > 181 in.)
National Gallery of Art, Washington.

Right. A recent gift to the North Carolina Museum of Art (Raleigh, North
Carolina) is this appealing child portrait by John Hoppner, formerly owned
by the American publisher, William Randolph Hearst. The portrait (30 X
25 in.) was once thought to represent a girl, but a mezzotint engraving of
1808 by S. W. Reynolds identifies it as 'William, Youngest Son of Lord
William Russell'.

Hoppner, it will be recalled, was born in London of German parentage and
entered the Royal Academy Schools at the age of seventeen, later becoming
one of the principal disciples of Sir Joshua Reynolds. The artist is particularly
well represented at the North Carolina Museum, where the new gift (made by
Mr. Edward S. Rosenberg, of New York, although the donor will retain
lifetime possession) now brings to eight the number of Hoppner paintings in
the permanent collection. North Carolina Museum of Art.

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IMPORTANT ENGLISH PAINTINGS AND DRAWINGS

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FINE CHINESE JADE CARVINGS, PORCELAIN AND ORIENTAL WORKS OF ART

One important and extremely fine Imperial oval sage-green Jade Dragon Bowl, with incurving
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pearls amongst cloud scrolls.

Lensjth 12 inches, width 10 inches, height 4' inches.

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The Connoisseur

JULY 1965

The Preservation Paradox
At the Villa Millbrook — 2

Drawings by Degas in English public collections: 3

Some unrecorded Masonic Ceremonial Chairs of the Georgian period

A fresh look at some Velasquez self-portraits

A documentary Davenport service

Contemporary French Beau Livre (10)

The lithographic illustrations of Andre Minaux
Four masterpieces acquired by Staatlich Museen, Berlin
Bonington re-visited
Three portraits — at Sotheby's
Drawings by Joan Eardley, R.S.A. (1921-1963)
Joaquin Sorolla — a reappraisal
In the Galleries
Art in the Modern Manner
Paris Dispatch
The Connoisseur's Diary
The Art Market
International Saleroom
Books Reviewed
Book Production Notes
Books Received

Vol. 159 No. 641

149

CLIFFORD MUSGRAVE I 5 I
RONALD PICKVANCE I58
E . T. JOY l6l
JOSE GUDIOL 165
168

W.J. STRACHAN

RONALD PICKVANCE

DOUGLAS HALL
MAX WYKES-JOYCE
ADRIAN BURY
ALASTAIR GORDON
GERALD SCHURR

DAVID COOMBS
RUARI MCLEAN

169

174
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183
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197
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The American Connoisseur

Jewels by Giovanni Battista Scolari
English silver in an American company museum: 1
The Connoisseur in America

©July 1965. National Magazine Company Limited.

On Cover

Marie Louise Elisabeth Vigee-Lc Brun (1755 Paris 1842). Lady Hamilton as the Persian Sibyl, canvas

53i x 39 inches (136 X 99 cm.). Signed and dated 1792 lower right.
In the possession of the Hallsborough Gallery, 143 New Bond Street, London W.l.

Colour Plates

The Villa Millbrook, Jersey, Channel Islands, home of Mrs. Dorothy Hart. The fireplace recess in

the Music Room 153
Two pendants in the Palazzo Pitti, Florence (Museo degli Argenti) 203

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The Connoisseur, July, 1965

James Abbott McNeill Whistler. Design for a Mosaic

Pastel, 1873. signed with the butterfly device. 10£ by 6| inches.

SOTHEBY'S

(Founded 1744)

announce the Sale on
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MODERN BRITISH
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AND SCULPTURE

the property of
The Rt. Hon. Lord COTTESLOE, G.B.E.
the late The Hon. Mrs. DAVID FELLOWES

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and other owners

Illustrated Catalogue
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Our contributors
in this issue include :

Clifford musgrave, Director of the Brighton
Royal Pavilion and author of many books and
articles on English and French furniture.

E. T. JOY, a leading art-historian of English and
French eighteenth-century furniture and colla-
borator, with Mr. Ralph Edwards, in the com-
pilation of The Dictionary of English Furniture.

jose gudiol, Director of the Spanish Art Institute,
Barcelona.

yvonne hackenbroch, Associate Research Cur-
ator of Western European Arts, the Metropolitan
Museum, and a leading art-historian of antique
jewellery.

carl christian dauterman, Associate Curator of
Western Art, the Metropolitan Museum, and a
foremost exponent in America of antique silver.

W. J. strachan, a specialist writer on the work of
the school of Paris and author of The Artist and
the French Book.

Next

month in I
The Connoisseur

The August number of The Connoisseur, the international art
magazine designed to meet the tastes and requirements of its
readers, will include the following contents :

Claude Blair discusses the 'seriousness' of Japanese armour
collecting, with particular reference to the current exhibition
at the Tower of London Armouries. A fine reproduction of
the great armour of the late Heian Period (late 12th century)
is shown in colour.

Robert L. Wyss, Director of the Historical Museum, Berne,
describes and illustrates in colour some rare Swiss majolica
ware from Winterthur (Zurich).

Ronald Pickvance, in the fourth and final article in a series,
completes his study of drawings by Degas in English public
collections.

Georgina Herrmann, one of the few scholars who has ever
made the arduous journey through the mountainous regions
of Afghanistan to the Hindu Kush, describes the history and
archaeological beauty of and illustrates in colour the slender
golden tower of the Minaret of Djdm.

Pierre Cabannes, Paris correspondent of a number of leading
German art journals, writes on the newly opened Israeli
Museum in Jerusalem and illustrates some of its new
acquisitions and loans.

Carl Christian Dauterman, Associate Curator of Western
European Art, the Metropolitan Museum, illustrates and
fully describes the collections of a leading American Com-
pany Museum in English Silver in the collection of the Folger
Coffee Company, Kansas City.

Arnold Wilson, Curator of the Department of Art, the Bristol
City Art Gallery, records the work of W. J. Muller (1812-
1845) and illustrates four of his drawings.

Also, in response to popular demand, an enlarged Inter-
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Connoisseur in America, Paris Dispatch, Round the Galleries,
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European Works of Art

PORTRAIT OF A SPANISH GRANDEE
Marble
Height 33 inches
by

FRANCESCO MARIA SCHIAFFINO
(1691-1765)

2 CARLOS PLACE,
MOUNT STREET, W.l

HYDe Park 3161

LONDON

CITY SHOWROOM

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Holborn 4633

FREEMAN & SON LTD

Members of The British Antique Dealers' Association Ltd.

NEW YORK

NEW YORK SHOWROOM

12 East 52nd Street
Plaza 9-6900

Extremely fine George III

silver Epergne.
Date 1763. Maker T. Pitts.

Height 13 in. Length 26 in.
Weight 175 oz.. Width 24| in.

The Connoisseur, July, 1965

VI

Italian walnut side table with two drawers. Circa 1600. Length 54 inches Depth 26 inches Height 34 inches

OF MOUNT STREET LTD
LONDON n.

£t7/-/i furniture Chinese and European Works of Art

112 Mount Street LONDON W.I Telep hone : GROsvenor 28$8 Cables: BARGRO, London, W.i

VII

JE

255 KING'S ROA;

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Members of

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)lcs: JEKEMIQUE, LONDON, S.W.3

Association Ltd.

E

NITURE

English - first quarter of the 18th Century
A rare black and gold lacquered kneeholc writing desk
Width: 3 ft. 3 in. Depth: i ft. 10 in. Height 2 ft. 7 in.

DllROVAL

bit * appreciation.

We discuss with knowledge for elucidation.

M. NEWMAN LTD

Established 1870 Members of The British Antique Dealers- Association Ltd.

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The Connoisseur, July, 1965

XII

JOHN MITCHELL & SON

8 NEW BOND STREET LONDON Wl

JAN VAN KESSEL (1626-1679)

JAN VAN KESSEL spent his very successful career in his native Antwerp where he became a master at
the age of eighteen. Van Kessel learnt from the style of his famous grandfather, Jan Velvet Brueghel, and
was also influenced by his contemporary, Daniel Seghers, the Jesuit flower painter. He worked on a small
scale with a palette of brilliant colours, often painting animal and insect studies on white backgrounds.
Examples of his flower pieces are much rarer. Van Kcssel's work is well represented in the Fitzwilliam and
Ashmolcan Museums.

Antique Silver ' Established 1912

N.BLOOM&SONs

40 Albemarle Street Piccadilly London W! May fair 5060

TW O OF FOIR EXCEPTIONAL GEORGE II SHELL DISHES

date 1753: maker's mark CM. in script: weight 36.75 ounces
length of -hell 41 inches: overall height 3, inches

Cyril Humphris

LTD.

BUST OF HERCULES
Bronze
Height : 28 cm.
Pierre Puget
1620 1694

23 OLD BOND STREET, LONDON W.
MAVfair 6240

The Connoisseur, July, 1965

XIV

138 REGENT STREET, LONDON, W.l

AND AT LLANDUDNO

PAIR OF ROYAL GOLD BRACELETS

Pair of Royal gold bracelets by Rundell, Bridge and Rundell with detachable roses set with diamonds
and the crowned monograms of the King and Queen over bleu-de-roi enamelled fields.

Presented at the coronation of William IV and Queen Adelaide.

XV

Hopkins & Davies Ltd.
36 North Audley Street
London W.l.
MAY 7830

Early 19th Century Bookcases (one of a pair)
Mahogany, outlined with gilt-metal
Grey marble slab with Gallery

2 ft. 10 in. wide 15 in. deep 3 ft. 7 in. high

WILLIAM WALTER (Antiques) LTD.

CHANCERY HOUSE, CHANCERY LANE, AND LONDON SILVER VAULTS W.C.2

Telegrams: Walter Silvavults London, W.C.2

Telephone: Chancery 3248/49

Unique set of four candlesticks
in the Gothic style date 1814
made by William Eley of London.
Weight of silver 102 oz. 11 in. high

The Connoisseur, July, 1965

XVI

By Appointment
Antiquaries op Chinese Works op Art
to H.M. the Kino op Sweden

By Appointment
Antiquaries op Chinese Art
to the late Queen Mary

By Appointment
Antiquaries of Chinese Art
to H.M. Queen Elizabeth
the Queen Mother

JOHN SPARKS

LIMITED

Cljmejte moxksi of 8rt

A Chinese porcelain miniature jardiniere;
the glaze of brilliant turquoise.
K'ANG HSI PERIOD A.D. 1662-1722
Height: 4 inches

128 MOUNT STREET, LONDON, W.l

GROsvenor 2265

LONDON

69 Upper Berkeley Street,
Portman Square, W.l

Telephone: PADdington 6595
Cables: Vivantique, London W.l

D. M. dr P

MANHEIM

Members of The British Antique Dealers' Association Ltd.
and Art and Antique Dealers' League of America

NEW YORK

46 East 57th Street,
New York 22, N.Y.

Cables:
Vivantique. New York

STAFFORDSHIRE
POTTERY ANIMALS

Top: Group of sheep and lamb stand-
ing, decorated in under-glaze colours.
Green and blue base, tan markings
on bodies. 4| in. high. 4| in. long.
Circa 1770

Bottom left and right: Pair of groups
of cow and calf on rocky green bases.
Cows have red markings, and calves
brown. 4§ in. high. Circa 1810

Bottom centre: ^ hieldon-school dog,
couchant. on oval green base, brown
and orange sponge decoration. 2h in.
high. 2i in. long. Circa 1770

We have a good selection of other pot-
tery animals in stock.

MARTIN & Co. Ltd. of Cheltenham

Goldsmiths & Silversmiths since 1806

R'V . 1 ."5'S; t

\£ f

r m f

PAIR OF GEORGE III CANDLESTICKS
1769 WM. CAFE

The Promenade

ONE OF PAIR
GEORGE III CHAMBER CANDLESTICKS
1814 WM. SUTTON

CHELTENHAM

GEORGE II COFFEE POT
1735 FRAS SPILSBURY

Telephone 22821

The Connoisseur, July, 1965

XVIII

BY APPOINTMENT
DEALERS IN ANTIQUE FURNITURE AND WORKS OF ART
TO THE LATE QUEEN MARY

M. Harris & Sons

ESTABLISHED 1868

A fine Chippendale carved giltwood overmantel mirror. Circa 1760.
4 ft. 10 in. wide

44/52 New Oxford Street, London W.C.i

Telephone: Museum 2121 Telegrams: Artisonne London WC1

FINE PORCELAINS OF THE 18th CENTURY, FAIENCE & MAIOLICA

Telephones:

KENsington
5272 & 3793

Cables:

PORCELIQUE
LONDON, S.W.3

156 BROMPTON ROAD, LONDON, S.W.3

VINCENNES. 1753

Finely gilt on a
gros-bleu ground

Diameter 8 inches

BIGGS

of

MAIDENHEAD

ESTABLISHED 1866
Members of B.A.D.A.

26, 28, 30, 32 HIGH STREET
MAIDENHEAD BERKSHIRE

TEL. (3 LINES) 22923, 26363/4

Early Regency 'D' shaped commode in partridge
wood and satinwood, paint decorated top to simu-
late marble, original brass feet and handles, circa
1805.

Height 2 ft. 10J in., width 3 ft. sf in.,
depth 1 ft. 8 J in.

Six showrooms of antique furniture and
silver besides modern departments

Open all day on Saturdays

The Connoisseur, July, 1965

XX

An 18th century German porcelain jug with silver-gilt mounts, Munich 1757 (height 9 inches), and an 18th
century Dutch polychrome Delft porcelain tankard with silver mounts, Amsterdam 1741 (height 9^ inches).

Two examples from our Collection of Early Continental Silver.

Valuations for Probate,
Insurance and Division.

Telephone: MA Yfair 6261 & 6262 Telegrams: inland, 'Euelase, H'esdo, London': overseas, 'Euclase, London. U'.T

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SIMON KAYE LTD

George II
Inkstand
Date 1746
Maker
I Duke

Weight 30 x 5
Length 10£ in.
Height of
centre bottle

4J in.
Width 7 in.

1b ALBEMARLE ST PICCADILLY LONDON W.l

Telephone: hyde park 7658 and 5152

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Perez

112 & 168 BROMPTON ROAD,
LONDON S.W.3

Telephone - KENsington 4411 (4 lines)
Telegraphic Address 'CARPEREZET'

also PARK STREET, BRISTOL
and AMSTERDAM

17th Century Koula
Size 6 ft. 1 in. X 4 ft. Ref. No.

51963

The permanent Exhibition Rooms at 112 Brompton Road feature
a large selection of Antique and Old Oriental Carpets and Rugs,
Tapestries, Aubussons, Savonneries and Needleworks.

Wall to wall carpeting and Broadlooms in exclusive plain colours
are available at 168 Brompton Road.

Perez (Contracts) Ltd. will attend to enquiries from the trade.

The Connoisseur, July, 196s

XXII

LEGGATT BROTHERS

ESTABLISHED 1 8 2 o

Watercolour Drawing
A Distant View of Nice
by EDWARD LEAR

Signed and dated 1876
Size 1 of x 1 j| inches

30 ST. JAMES'S STREET, LONDON, S.W.i

Telephones: Whitehall 3772 and 3252 Cables: Leggabros, London S.W.i

XXIII

THE TREASURES AT THE WORLD'S CROSSROADS

At the crossroads of the world, Britain has become through the centuries a treasure house of the artistic creation and craftsmanship
of all lands.

The overseas visitor can see some of the world's finest collections of antiques and works of art in Britain's stately homes. But in
our antique shops there is an immense — and constantly changing — range of beautiful things to attract the discriminating buyer:
bronzes, statuary, ivories, illuminated manuscripts, carpets and rugs, clocks and barometers, coins and medals, drawings and
engravings, furniture, glass, jewellery, metalwork, miniatures, musical instruments, Oriental ceramics, paintings, porcelain,
pottery and enamels, silver and old Sheffield Plate, tapestry and fabrics.

To trade on a recognised world scale in these specialities demands expert knowledge. That is why membership of the British
Antique Dealers' Association — representing 550 individuals or firms trading all over Britain under the blue, gold and white
emblem of Bcnvenuto Cellini — is subject to stringent, continued scrutiny.

The Association's members make a major contribution towards enhancing Britain's reputation as the prize international art
market, providing a service of the greatest value to our overseas friends.

A booklet price 10s. post free ($1.50 abroad) giving names and addresses of established dealers in antiques and works of art who
are elected members of the Association will be forwarded on application to the secretary.

THE BRITISH ANTIQUE DEALERS' ASSOCIATION

20 RUTLAND GATE, LONDON, S.W.7
Kensington 4128 & 2102

The Connoisseur, July, 1965

XXIV

I London

( nge 111 silver bound pearwood Inkstand
I cr handle and press-stud giving access
t\ wo compartments, one containing three
| er capped bottles, the other, removable
\ writing materials.

j idon l SOO.

j iker K.N. Length 8\ in. Depth 3l in.

e bottles engraved with the crest of the

irquess oj Blandjord, ^th Duke oj Marlborough

New York

' of four early George III

ndlesticks

ndon lj6o

iker William Cafe

light 1 1 in.

zight 102 oz. 1 I dwt.

mm

r^1

igraved with the

ms of Cary impaling Stafford

douglas PORTWAY

paintings

july 13 - august 13

drian galleries

5-7 porchester place marble arch london W2 pad 9473

agents for Burt, Lacasse, Walls

Catalogue of the
Constable Collection

B> Graham Reynolds

The Constable Collection in the Victoria and Albert Museum
is considered the most comprehensive in existence, comprising
103 oil paintings and oil sketches, 309 watercolours and
drawings, and three intact sketch books, all of w hich the
Catalogue reproduces and discusses. Every phase of Constable's
career is represented; the arrangement is chronological and
biographically annotated. Libraries, art galleries, collectors,
students - all will find it indispensable to the study of
Constable's life and work. Nearly 600 illustrations.

'Indispensable to art lovers' Punch

£6 6s. (by post £6 9s. 3d.)

Free lists of titles on art are available from Her Majesty's
Stationery Office, P6A (Conn), Atlantic House, Holborn
Viaduct, London E.C.I

fflGDSB

Government publications can be purchased from the Government Bookshops in
London (post orders to P.O. Box 569. S.E.I ). Edinburgh. Cardiff. Belfast.
Manchester. Birmingham and Bristol, or through any bookseller

BOOKS

FROM THE

CONNOISSEUR

The Connoisseur
New Guide to
English Painting
and Sculpture

30s.

(by post 31/9)

Allliqu. hneMi

SILVER and PLATE

A Dictionary of
Marks (on ceramics,
Silver, Sheffield
Plate, Pewter and
Furniture)

30s. (by post 31/3)

■

The Connoisseur
New Guide to
Antique English
Silver and Plate

30s. (by post 31/9)

The Complete Encyclopaedia of Antiques
1,472 pp. including 512 half-tone plates
84s. (by post 87/3)

From all good booksellers or by post from
The Belgrave Library, 22 Armoury Way,
London swi8

The Connoisseur, July, 1965

XXVI

■ madden galleries

77 DUKE STREET, GROSVENOR SQUARE, LONDON, W.1
HYD 5854 OPPOSITE THE EUROPA HOTEL

Automne, CROZANT 1912 Oil on Canvas, 25i x 31 J inches

CLEMENTINE BALLOT

Chevalier de la Legion d'Honneur
1879-1964

IMPRESSIONIST PAINTINGS

AND

DRAWINGS EXHIBITION

15th July-15th August

ILLUSTRATED COLOURED MONOGRAPH IN LIMITED EDITION AVAILABLE ON APPLICATION

XXVII

W. R. HARVEY & Co.

(Antiques) Ltd.
69 CHALK FARM ROAD, LONDON N.W.i

Fine early 18th Century green lacquer-work long case clock.
Height 87 inches.

Fine Antique Furniture

Members of The British Antique Dealers' Association Ltd.

Portraits
in oils
by

Royal

Academy

Exhibitors

From sittings or treasured photographs

Hans Galleries

40 DUKE STREET, ST. JAMES'S, LONDON S.W.I

WHITEHALL 4008 CLOSED SATURDAYS

CHINESE

GALLERY

ANTIQUE CHINESE RUGS

40 Great Russell Street, London, W.C.I.

(LANGHAM 7538)

^$ove*. ^fft&af. S£>/i</?/i <y^/

Hyde Park 47 1 1

MONS & C

I E

TABLEAUX ANCIEXS

LITtre 26-84 19 Rue du Cherchc-Midi, Paris VIe

The Connoisseur, July, 1965

XXVIII

18th CENTURY IRISH SILVER

George II antique silver Coffee Pot
made by Thomas Williamson, Dublin 1732-3
Weight 23 J oz. Height 8 in.

George I antique silver Snuffer Stand
by Thomas Boulton. Dublin 1715-16
Weight 5oz. Height 4} in.

We shall be happy to answer your enquiries and to give you details of the Silver

from the Collection of

LOUIS WINE Ed-

Fine Aft Dealers, Jewellers and Silversmiths

31 & 32 GRAFTON STREET, DUBLIN

Established 1840

Tel: Dublin 73865

XXIX

KNOEDLER

Established 1846

Old and Contemporary Masters

LONDON

34 St. James's Street
S.W..

NEW YORK

14 East 57th Street
N.Y. 10022

PARIS

85 bis rue du Faubourg
St. Honore 8e

Pair silver candlesticks
GENOA 1740
6J in. high 20 oz.

H. S. WELLBY

Antique English and Continental Silver

16c Grafton Street, W.i

Member of the B.A.D.A. Ltd. Telephone: Hyde Park i $97

The Connoisseur
is

published
monthly

Price 10/-

SUBSCRIPTION RATES IN BRITAIN
jC,6 15s a year including postage

IN U.S.A.

$18.00 for 12 issues
$34.00 for 24 issues

The 12 issues include the Antique Dealers' Fair Number
Main Subscription Agents

The Belgrave Library, 22 Armoury Way, London, SW18

The Connoisseur, July, 1965

XXX

A small Irish mahogany Breakfront Bookcase of fine faded colour.
Height 7 ft. 10 in. Width 7 ft. 2 in.

Gerald Kenyon

FINE ART & ANTIQUES

36/37 SOUTH WILLIAM STREET, DUBLIN, 2

Dublin 73945

Also: H. Kenyon The Old Leche House Chester Chester 24742

DENYS WREY Ltd.

Members of The British Antique Dealers Association

45 SLOANE STREET LONDON S.W.I

Telephone: BELgravia 1813/14

A very fine George I carved and giltwood Console
Table, the top of oak crossbanded with walnut, and a
William Kent Pier Glass of the same date. Measure-
ments of Table: Length 441 in., depth 20J in., height
32 in. Measurements of Mirror: Height 72 in., width
44 in.

Period Furniture Works of Art
Expert Restoration of Antiques

WE ARE ALWAYS ANXIOUS TO BUY FINE ENGLISH ANTIQUE
FURNITURE

DUITS

LTD

Finest examples
of

iyth century Dutch Masters

6 DUKE STREET

ST. JAMES'S, LONDON, S.W.i

telephone: Whitehall 7440

SHIPPER „
ICKEES IffSURl

^ffltngate &3°hnstonlJtd

Established 181 5

Head office :

39/45 FINSBURY SQUARE, LONDON, E.C.
also at:

LIVERPOOL-MANCHESTER-SOUTHAMPTON
BELFAST - P.ARIS - NEWCASTLE - GLASGOW
TORONTO - NEW YORK - MONTREAL - LEEDS
LEICESTER

CONNECTING WITH A NETWORK OF RELIABLE AGENTS OVERSEAS

The Connoisseur, July, iyos

XXXII

Antique Silver . . .

from

GARRARD

BY APPOINTMENT
TO HER MAJESTY THE QUEEN
GOLDSMITHS & CROWN JEWELLERS
GARRARD & CO. LTD., LONDON

This antique silver beer jug, 91 inches high, was made in London in 1739 by ^Wfflmm
Kidney. It is currently part of the Garrard collection of ant.que silverware . a collection
that changes constantly but is always well worth inspection.

GARRARD The Crown Jewellers

112 REGENT STREET

W1 • REGENT 7020

XXXIll

Very fine and
unusual set of
three white
marble heraldic
lions. Italian
(Genoese ?),
late 17th century

Height:
3 ft. 6 in.

Width:
2 ft. 2 in.

French furniture
and sculpture

.ma ,:i':r.i"r

at

Telephone: MAYFAIR 2444/5

bourdon f/ouse

2 DAVIES STREET ■ BERKELEY SQUARE • LONDON • W.

ENGLISH FURNITURE— 40 NEW BOND STREET. W.I

Garden statuary
and furniture

Telegrams: MALETHOUS LONDON

13
13
13
13
13

ta

13
13
13
13
13
13
13
13
L3
L3
L3
13
13
13
13
13
L3
13
13
[3
13
13
13
13
13
13
13
13
13
13
13
13
13
13

(London) Ltd.
83 BISHOPSGATE, LONDON, E.C.2

Tel. LONdon Wall I 1-56 Tel. Address: Osencarpet

We are interested in purchasing only finest examples

)

N AND ORI
TS AND B

NTAL

Rare silk items of especial interest
Entire collections negotiated

In Association with

Morice Ossendryver (Pty) Ltd.
Amcor House.

Marshall A; Simmonds Street,
Johannesburg, South Africa

Mori< e Ossendryver (Pvt) Ltd.

Salisbury,

Southern Rhodesia

The Connoisseur, July. 1965

XXXIV

A very fine and good quality Chippendale mahogany partners desk
having a carved, gadrooned edge to the top and leaf and tongue
mouldings to the base of the pedestals. The handles are original and
of a typical mid- 1 8th century design.

Length: 6 ft. i in. Depth: 3 ft. 3 in. Height: 2 Jt. 7 in.

BY APPOINTMENT ANTIQUE DEALERS TO THE LATE QUEEN MARY

MALLETT

MA1XETT & SON (ANTIQUES) LTD., 40 NEW BOND STREET, LONDON W.l
TELEPHONE GROSVENOR 7411 (5 LINES)
AND AT BOURDON HOUSE, 2 DAVIES STREET, LONDON W.l

Built-in Fitments

Today there are two main standards by which furniture is
judged: attractive appearance and capacity to economise on
space. The fitments shown here satisfy both requirements
admirably. Individually designed to the owner's personal taste,
each contributes to an atmosphere of gracious living that is
rarely equalled in conventionally furnished homes. Whether
you require a complete room setting or an individual unit,
Built-in Furniture Ltd. are the acknowledged specialists. In
addition, Built-in Furniture Ltd. can look after all aspects of
complete home decor, including the kitchen. Every item is
craftsman built from selected materials and fully guaranteed.

HENRY SPENCER

^eee= S SONS

4

ESTABLISHED 1840

Eric C. Spencer, C.B.E., M.A. (Cantab.), F.R.I.C.S., F.A.I.
Rupert W. Spencer, M.A. (Cantab.), F.A.I.
H. Michael Spencer, F.R.I. C.S., F.A.I.
L. M. Seymour. VV. E. Peck, F.A.I. Harry C. P. Spencer, A.A.I.

of RETFORD, Nottinghamshire

Sales by Auction
of the Contents of Mansions and Country Houses
Sales of Landed Estates and Properties

RETFORD SALEROOMS

THURSDAY and FRIDAY 8th and 9th JULY
XVIII and XIX CENTURY FURNITURE
PAINTINGS. WORKS OF ART
Illustrated Catalogues 2/6d.

20 The Square, RETFORD, Notts.

Telephone 2531-4

For further details of this specialist service write

built-in

furniture limited

Dept. CON. 7/65. 116 Wigmore Street, London W.1.
WELbeck 6849/6840

Showrooms at 116 Wigmore Street and at
461 Finchley Road, N.W.3. HAMpstead 1827

Hal O'Nians

Old Master Paintings and Drawings
6 RYDER STREET, ST. JAMES'S, LONDON, S.W.I

Telephone: Whitehall 9392

14 DUKE STREET (1st Floor). St. James's. London S.W.1. WHItehall 1794
(Entrance. Mason's Yard)

Permanent Exhibition of Dutch 17th-century seascapes

RALPH
COX

OLD GREETHAM INN
STRETTON, RUTLAND

(Great North Road)

Tel : Castle Bytham 340
Member of BAD. A. Ltd.

1 7th Century marble relief
Height 13 inches

Also at

39 STEEP HILL LINCOLN
Tel: 22463

The Connoisseur, July, 1965

XXXVI

-

An early Louis XV rosewood commode having
brass inlay on the uprights. Signed F. F 3' 3 '
Wide 1 ' 10" Deep 2 1\" High. □ A Regence
commode in rosewood with Satinwood inlay
With bombe sides and front, shaped marble
top. 4' 3" Wide 2' 0" Deep 2' 10" High

ASPREY & COMPANY LTD • 165-169 NEW BOND ST

. CV><«>~ •>

By appointment
to H. M The Queen
Silversmiths &
Jewellers.

ASPREY
will find

at Asprey and Birch
church Street where,
prehensive stock held, any pieces
sent from Bond Street at short

IN THE CITY. The City Man
a usefully close-at-hand service
& Gaydon, 153 Fen-
besides the corn-
can be
notice.

LONDON W1

HYDe Park 6767

The Connoisseur Register Advertisements

GALLERIES

Dunning's Antiques. 10,000 sq. ft. showrooms only 20 miles north of
London. Supply Antique Furniture, Barometers, Clocks, Musical, Medical
and Scientific Instruments. Unusual Metalwork and Pewter. Paintings,
Sculpture and Bronzes. Early Pottery and Porcelain. 58 HOLYWELL
HILL, ST. ALBANS 51 065.

Haddonfield, New Jersey: Sanski Gallery, 50 Tanner Village. Fine
early American and European paintings, drawings and sculpture bought,
sold, restored.

Oil Paintings cleaned and restored by experts. Large selection of 1 8th,
19th, 20th Century Oil Paintings on sale. We buy old Oil Paintings of
quality irrespective of condition. Our experts will search and buy named
painters' works on commission basis. EL GRECO ART GALLERIES
LTD., 496 KINGS ROAD, WORLDS END, CHELSEA, LONDON,
S.W.1 0. Tel. Flaxman 7953.

Paintings: Oils and Watercolours : Illustrated lists free, delivery and
approval overseas. Old Hall Gallery, Ltd., Iden, Rye, Sussex, England.
(Tel:lden304.)

WANTED

Garrard The Crown Jewellers offer high prices for fine silver and jewel-
lery. Wholly dependable valuations by experienced buyers at 1 1 2 Regent
Street, London, W.1 . Regent 7020.

Wanted: Russian Enamel Pieces. Write A. E. Turcone, 298 Broadway,
Providence, R.I., U.S.A.

Wanted by Private Collector OLD AMERICAN FLAGS (prior to 1 870).
Write B. Mastai, 21 East 57th Street, New York 22. N.Y., U.S.A.

Wanted : Old Correspondence, 1 8th and early 1 9th century, especially
letters from overseas with postal markings of the pre-stamp era, or with
stamps. Col. A. Murray, Greenhill, Rownhams, Southampton.

Autographs, Manuscripts and Documents of Famous Artists,

Writers and Musicians. Highest cash offers made. A. W. Morse, 1 1 8 East
60th Street, New York, 22, New York.

Wanted : Old, non-humorous legal prints, etchings, engravings of trials,
judges, court scenes, anything relating to judiciary or politics. Wanted
also bronzes of Russian cossacks. Write Hyder, 1 609 Oil & Gas Building,
Forth Worth, Texas, U.S.A.

Wanted: Nazi. Fascist Relics, Edge Weapons. Write Peter Laboranti,
17 Hathaway, Garden City, N.Y., U.S.A.

Private American Collector Seeks Faberge. Send photos and cost.
Highest prices paid. Box No : 7322.

Victorian and Georgian Pendant Watches - Will pay highest
prices. Enamelled and jewelled items desired. Single items or collections.
Full particulars to: W. Alexander Wallen, 106 Cedar Road, Elkins Park,
Penna., U.S.A.
FOR SALE

Antique Maps - Send for illustrated catalogue stating part of interest.
P.J. Radford (C), Denmead, Portsmouth, Hants.

Old Prints, unrivalled selection on all subjects, also ORIGINAL
DRAWINGS, RARE BOOKS and AUTOGRAPH MANUSCRIPTS
Callers by appointment only, telephone Ambassador 5439. Walter T
Spencer, specialists since 1 856, 47 Upper Berkeley Street, London, W.1

Just Published 1 965-66 Antiques in Britain' - the new yearbook and
magazine combined edited by Tony Keniston. 300 pages. Independen
guide to British Antique Dealers plus many authoritative articles and
illustrations. £1 or $3 from Tony Keniston, 5 The Cedars, Wendover
Bucks.

Gauguin, Lautrec, Pissarro, etc. Catalogue of drawings and manuscript
for sale. Anthony d'Offay, c/o : National Provincial Bank, 1 0 Marylebone
High Street, London, W.1 .

Important Oil Painting by Henry Thompson, R.A., 1773-1843,
'Nature's Mirror'. 55 in. * 45 in. Perfect condition. Privately owned. See
London or colour photograph available. Offers invited. Box No : 7320.

Copies Available of Connoisseur and Burlington Magazine for past
six years. Mint condition. What offers - Box No : 7321 .

Private Collectors will find the 1965-66 edition of Antiques ir
Britain' invaluable. 300 pages, 20s. Od. from 5 The Cedars, Wendover,
Bucks.

MISCELLANEOUS

Jolly's Auction Rooms, Old King Street, Bath, Somerset. New purpose
built rooms - 5,500 sq. ft. Frequent Pullman service from London. Regular
fortnightly sales. Antique Furniture; Silver and Plate: Pictures; Books
Porcelains, etc. Telephone Bath 3201 (4 lines).

School of Design & Decoration. The next ten-week concentrated
courses start on 1 st October.
The Lecture Course, supervised by Mrs. Michael Inchbald, covers al
aspects of period and modern Interior Design with lectures by experts or
the history and appreciation of art, architecture, furniture, silverand china
practical sessions and visits to historic houses and designers' studios.
The Drawing Course gives practical training in drawing and designing
interior schemes, working at the drawing board under the supervision of
practising interior designers. Details and application forms from Inch-
bald School of Design, 10 Milner Street, London, S.W.3. Knights-
bridge 4456.

Hard-to-Find Books located thru world-wide contacts. Agents ir
principal cities all over the globe. Book Landling, 6631 Hollywood Blvd.
Hollywood, Calif. 90028.

Brighton Antiques Fair - Corn Exchange, Pavilion Gardens
Brighton. July 1 6th to 24th. 1 1 a.m. to 8 p.m. daily (except Sunday).

Register advertisements are 1/6 per word, minimum £1 for 15 words,
which must be prepaid and sent to the Advertisement Manager, THE
CONNOISSEUR, CHESTERGATE HOUSE, VAUXHALL BRIDGE
ROAD. LONDON, S.W.1 (Victoria 2331). Addresses or Box Numbers)
must be inserted, and replies to the latter should be clearly marked with '
the Box Number. The Proprietors of The Connoisseur accept no
responsibility for any sales effected.

J. A. FREDERICKS

(Member of The British Antique Dealers Association)

Wishes to Purchase Old Knglish Furniture

DORSET GALLERIES
4? DORSET STREET, BAKER STREET, LONDON, W.I Welbeck 8934

COIN & MEDAL SPECIALISTS

Collections and rare pieces wanted
Catalogue of English Coins l4/9d including postage

A list of catalogues and other publications on request

B. A. SEABY LTD.

65 Great Portland Street, London W.I Telephone LANgham 3677

1 Antique Silver

HARRY

: Sheffield Plate

CHERNACK

; Antique Jewellery

of Edinburgh

85 ROSE STREET

• PHONE CAL 3038

Member of The British Antique Dealers Association

? 1

THE IVEAGH BEQUEST, KENWOOD

Hampstead Lane, N.W.3

SUMMER EXHIBITION

The Conversation Piece in
Georgian England

Until 19 September

Weekdays 10-7 Sundays 2-7
210 bus trom Archway or Golders Cjreen
Admission free

Formal Adam Period Statuary marble
Chimneypiece, carving of fine detail.

LENGTH OF SHELF 5' 9"
TOTAL HEIGHT 4' 4"

OPENING WIDTH 3' 6"
OPENING HEIGHT 3' 3"

T. CROWTHER & SON

(T. CROWTHER & SON LTD)
282 NORTH END ROAD, FULHAM, LONDON S.W.6

Telephone: FULham 1375-7 Grams: Antiquity, London

Please note: we close 1-0 p.m. Saturdays

Telegrams:
Gregco, Wesdo London

GREGORY & CO.

(BRUTON STREET) LTD. ESTABLISHED 1823

27 BRUTON ST., BERKELEY SQUARE, LONDON, W.l

ylNT7QL/£S
FURNITURE
UPHOLSTERY
CUR TAINS
CARPETS
CHANDELIERS

Telephones:
Mayfair 2608/9/0, 2066

DESIGNS & SCHEMES
BOARD ROOMS
DIRECTORS' SUITES
DECORA TIONS
ELECTRICAL WORKS
H E A TING
VALUATIONS

A small Sheraton faded mahogany pembroke table crossbanded in satinwood. Circa 1790.
Height 28 in. Depth 30 in. Width leaves down 18^ in., leaves up 35 in.

Hepplewhite chair sold prior to publication.

MARK ATKINS

9 Downing Street, Farnham, Surrey

Antique Furniture, China, Glass, etc.
Unusual and interesting items always in stock
Trade and Collectors welcome

Tel: Farnham 5267

P. H. <-fi I I I \<-ll \ >l

Member: B.A.D.A. Ltd.
Antiques and Works of Art

LARGEST STOCKS IN THE SOUTH OF ENGLAND

Speciality : Old English Cottage Furnishing

8 < HF.RTSEY STREET
GUILDFORD

Telephone: 5750

'LYNDHURST' LONDON ROAD
GUILDFORD

Telephone: 61952

Books and The Belgrave Library

Readers, especially in some of the remoter parts of
the world, may like to know that any book reviewed
on these pages, or shown under 'Books Received',
can be ordered by post from

The Belgrave Library,
22 Armourv Wav, London, S.W. 18

D. & /rWELLBY LIMITED,

(late 18 & zo, Garrick Street, London, W.C.z.)

incorporating BO SWELL & WARD.
30, DOVER STREET, PICCADILLY,
LONDON, W.l. HYDe Park oj6j.
Founded by John Wellby in 1820.

A pair of Victorian diamond pendant earrings.

The Connoisseur, July, 1965

XL

MEXICO

Land of Infinite Variety

Distance no longer counts
These wonders are within your reach

'ROM the moment you set foot on Mexican soil you will be charmed by the warm hospit-
ality of her proud and generous people. Everything in Mexico will delight, astonish
and fascinate you. Bold modern architecture and the artistic treasures of a fabulous past.
The museums of Mexico City, the University City with its immense stadium, the floating
gardens of Xochimilco and the two largest arenas in the world will give you a many-sided
picture of the capital of this fast-developing country. At Teotihuacan, you will stand awe-
stricken before the imposing grandeur and the religious implications of the Pyramids of the Sun and the Moon. The pink-roofed
town of Taxco, with its flower-decked patios, will take you back to the colonial era. Under the clear skies
of Yucatan, the ruins of Maya cities will conjure up for you visions of the pre-Colombian civilizations.
Fine sandy beaches, the limpid sparkling sea. lively and colourful folklore witli the songs of the
mariachis and modern hotels, all combine to make your stay in Mexico an unforgettable experience.
A four-and-a-half-hour flight from New York will bring you to Mexico.

For further details contact your travel agent or : MEXICAN TOURIST OFFICE, 60 Jerrnyn Street. LONDON. S.W.I. - Tel. GRO.
MEXICAN NATIONAL TOURIST COUNCIL-MEXICAN GOVERNMENT TOURISM DEPARTMENT -MEXICO D. F.

DO NOT WAIT UNTIL THE 1968 OLYMPIC GAMES ! COME TO MEXICO NOW

Every month

studio international

defines a whole world of
modern art for the art lover, and all

who advise on, sell, collect or
invest in the works of modern artists

in every medium

AVAILABLE FROM GOOD BOOKSELLERS 6/- PER ISSUE

Annual subscription (£3-12-0) post free from the Subscription Dept.. Belgrave Library. 22 Armoury Way. London. S.W.18

The Connoisseur, July, 1965

XLII

DAVID BLACK & SONS

1 Burlington Gardens,
New Bond Street W.l

FINE ANTIQUE ENGLISH AND
CONTINENTAL SILVER
OBJETS DE YERTU AND WORKS OF ART.

Telephone: HYDc Park 3851

BERNARD BLACK GALLERY

1062 Madison Avenue,
New York 21

(Associate: HFGUES W. NADEAU)

AMERICAN PAINTINGS AND DRAWINGS
OF THE 19th AND EARLY 20th CENTURIES
SCULPTURE AND WORKS OF ART
OF ALL PERIODS.

Telephone: Trafalgar 9-2171

We are always desirous of purchasing any of
the above-mentioned works of art.

PERRY
GREAVES

At the new Perry Greaves Showrooms you will find one of the
largest and most distinguished collections of antique silver and
jewellery to be seen in this country. If you are seeking a
particular piece, we shall be pleased to receive your enquirv
by letter or telephone — or better still, to welcome vou for
a visit of inspection. Valuations : Norman Harper, FGA, FNJA,
one of the leading international experts in precious stones,
will be happv to advise you on the buving, selling or insuring
of jewellery; expert valuations of antique silver carried
out by John P. Richards, member of the British Antique
Dealers Association.

Perry Greaves Limited. Incorporating:
S. Child & Son • H. Greaves
W. A. Perry & Co. • F. C. Richards
Dept. C/i, Priorv Ringwav (Opp. Gaumont Cinema),
Birmingham 4. Telephone: CENtral 9297.

Five piece Queen Anne
Condiment London
1707 Fras. Garthornc
4/14-1 16 i4-'S- 0. O.

XLIII

THE LEFEVRE GALLERY

XIX and XX CENTURY FRENCH PAINTINGS

Telegrams: Drawings, London, W.I

Gustave MOREAU 'Perseus and Andromeda'
Water Colour I If x 22 inches

30 BRUTON STREET LONDON W1

Telephone: Mayfair 2250

An exhibition of paintings by

DENNIS FLANDERS

at

THE CHRISTIE GALLERY

BEDFORD

from Tuesday 6th July until Saturday 17th July

^■HBHHH^HHHHHHHHflHHHHHHHHHHHIi

Conway
by Dennis Flanders

54 ST. LOYES STREET, BEDFORD
Telephone: Bedford 4536

GRABOWSKI GALLERY

84 Sloane Avenue London SW3 KEN 1868
ZOICA GROUP

paintings

ALAN RICHARDS Open daily 10-6

THE TRYON GALLERY LTD

41-2 DOVER STREET, LONDON, W.i HYDE PARK 5161

Sporting and Natural History pictures

SAB I N

GALLERIES

4 Cork St., Bond St.
REGent 6186

Specialists in
English 18th Century
paintings and drawings

BROADWAY ART GALLERY, Broadway, Worcs.

Telephone Broadway 3237

Impressionist and 20th Century Paintings
SPANISH MASTERS

OMELL GALLERIES

22 BURY STREET ST. JAMES'S
LONDON S.W.I TRA 4274

FINE CONTEMPORARY and 19th CENTURY PAINTINGS

The Connoisseur, July, 1965

A pair of Dutch scenes by ISAAK OUWATER 1750-1793. Signed
Each canvas i8| x 22§ in. (47.4 x 56.8 cm.)

The Hallsborough Gallery

EXHIBITION
Fine paintings and drawings of six centuries

Until JULT 25

143 NEW BOND STREET, LONDON W.i

.EPHONE: GROSVENOR 1925 & 4585

CABLES: PICTORIO LONDON, W.I

SHOWCASE

18th Century
mahogany hall
chair, with
particularly
interesting hack.
Circa 1750.

Member of The
British Antique
I )ealers"
Association
Ltd.

PETER FRANCIS

37 BEAUCHAMP PLACE

LONDON S.W.3 Kensington 4243

Carved wood
figure of a bishop
decorated in
polychrome.
Portuguese,
late 14th century,
inches high.

HEATH-BULLOCK

24 MOTCOMB STREET
LONDON S.W.I

Belgravia 7313

8 MEADROW, GODALMING
SURREY Godalming 2562

H °

5 / -

w

\ -A

%

\\ \

Specialists

CHARLES FRODSHAM & Co.

173 BROMPTON ROAD Ltd.
LONDON S.W.3 Kensington 1073

Chelsea Seasons. Circa 1765

BUCKINGHAM ANTIQUES

THE OLD VICARAGE. CHETWODE
Nr. BUCKINGHAM Finmere 429

1

.4 p^ir c/ George III silver Casters, 1818
Maker George Knight
A Queen Anne pear-shaped Caster engraved
with a coat-of-arms. 1 71 '

HILTON GALLERY

3 ST. MARY'S PASSAGE
CAMBRIDGE Cambridge 56886

train urikitiq
on eight bells.
(Circa 1 770).

inches.

Philip & Bernard DOMBEY

174 KENSINGTON CHURCH STREET
LONDON W.8 BAYswater 7100

Skvres Turquoise Porcelain, circa 1820;
< 'achepots, Platter. Pair of I 'ases ormolu
mounts.

GAY ANTIQUES

Fine Porcelain and Silver

I BEAUCHAMP PLACE

LONDON S.W.3 Knightsbridge 961;

An 18th Century Italian Console table,

finely carved and gilded.

Length: 20 in. Height: 28 in. Depth: 12 in.

DAVID TRON

275 KINGS ROAD
LONDON S.W.3

Flaxman 5918

Some interesting items from our collection.

INGRAM WARWICK Ltd

Antique Lovers Coterie for Jewels & Objets d'Art

6 SOUTH MOLTON STREET
LONDON W.I Mayfair4lS8

.4 Sheraton mahogany writing table having
a rising reading or writing stand.

DAVID CLEGG Ltd.

53 HIGH STREET SOUTH
DUNSTABLE

BEDFORDSHIRE Dunstable 63535

Queen Elizabeth I,

1580.

Rare

Maidenhead Spoon.
Maker Robert
Planckney.
Extremely fine
marks.

R. E. PORTER

2 and 4 POST OFFICE ROAD
BOURNEMOUTH Bournemouth 24289

Beautifully
proportioned,
fine quality
mid- 10th
cental y
French clock.
Original
gilding and
blue ball,
ormolu
cherubs and
white marble
base.

toi in. high.
Oval base
7 in. by
4\ in.

HUGGINS & HORSEY Ltd.

26 BEAUCHAMP PLACE

LONDON S.W.3 Knightsbridge 1685

Set of 8

single

mahogany

sabre-leg

Regency

Chairs,

drop in seats

covered in

green

damask.

Circa 1825

Height
32 in.

Depth 1 g in.
1 1 'idth 1 8 in.

C. P. BURGE

162 SLOANE STREET
LONDON, S.W.I Sloane424
and at Kingston and Thames Ditton, Sum

I i

Mid 18th Century wine glasses: light
balusters, and an air-twist engraved with
rose and two buds

LLOYDS

16 MOTCOMB STREET

BELGRAVE SQUARE

LONDON S.W.I Belgravia 101

GEORGE S. BOLAM

Antiques I- Works of Art
CRESWYKE HOUSE
MORETON-IN-MARSH, GLOS.

Moreton-in-Marsh. 215 1

WE ALWAYS HAVE AN ATTRAC-
TIVE COLLECTION OP OLD
TAPESTRY AND NEEDLEWORK
CUSHIONS.

E. B. SOUHAMI

6c PRINCES ARCADE
LONDON S.W.I

Regent 7196

FINE TAPESTRIES, SAVONNERIE and AUBUSSON CARPETS, NEEDLEWORK and BROCADES, ENGLISH and FRENCH FURNITURE

MANN AND •
FLEMING LTD.

Members of The British Antique Dealers' Association Ltd.

ANTIQUES
DECORATIONS

Regency rosewood cupboard
Sienna Marble top
38 x 14 inches

120B MOUNT STREET
LONDON, W.l

GROsvenor 2770

XL VII

SACRIFICIAL SCENE BEFORE THE ALTAR OF DIANA
16th Century. Probably French (possibly Fontainebleau)

This beautiful tapestry, of unusual quality and dramatic interest, is surrounded by a large border featuring various incidents of the
Diana myth, with emphasis on scenes of the hunt Size: Height 11 ft. 6 in. Width 1 1 ft.

Importers of Oriental and A "V/^D 17" A C RP OQ One of the largest selecticfli

European rugs, tapestries JLVX A X V-/ XV JNl. XX O X3 XV V>J 3 • of semi-antique and peril,

and textiles rugs in the country; also,!

On Madison Avenue since 1907 kinds of period tapestr*

843 MADISON AVENUE (at 70th St.)

NEW YORK 21 N.Y.

TEL. BU 8-8481/842

JACOPO BASSANO

1510-1592

PORTRAIT OF A VENETIAN SENATOR

PIERO TOZZI GALLERIES

CABLES: PIERTOZZI NEW YORK

137 EAST 57th STREET NEW YORK 22, N.Y.

TEL: PLAZA 3-9189

Study of Nun Seated at a Table

by

GWEN JOHN

(1876-1934)

Oil on canva>
23} X 14 J inches

COLLECTORS' FliSDS

MAYMRD WALKER GALLERY

117 East Fifty -Seventh Street
New York 22

Empire Grouping

One of a pair of chairs signed 'Jacob D'; Miniature chest;
Porcelaine de Paris inkstand; Contemporary porcelain flowers

MERRYVALE

Antiques and Gardens

Open Monday through Friday 9 to 5.30 Tel. JOrdan 7-061 5

3640 BUCHANAN STREET, SAN FRANCISCO 23, CALIFORNIA

TROSBY

GALLERIES

AUCTIONEERS

OF PALM BEACH, FLORIDA
NOW ACCEPTING CONSIGNMENTS

FOR THE

1965-'66 AUCTION SEASON

EXPERT
APPRAISAL SERVICE ON
ART & PERIOD FURNISHINGS

OUR COMMISSION CHARGE ON ALL
MAJOR COLLECTIONS IS EXACTLY
TEN (10) PERCENT

For Appointment Please Write

TROSBY

INC

APPRAISAL DEPARTMENT
211 ROYAL POINCIANA WAY, PALM BEACH, FLA.
CABLE TROSART
Telephone (Area Code 305) 833-1650 and 833-4101

MILTON E. FRESHMAN. President

The Connoisseur, July, 196s

L

119 East 57th Street NEW YORK Tel: PLAZA 3-1296

THOMAS MORAN

(1837- 1926)

By H. R. Butler, Princeton (1837-1926)
Oil on canvas 40 x 36 inches

A most Handsome Portrait, showing Thomas
Moran sketching out one of his magnificent
Western Landscapes. His artistic interpretation
of the Natural Wonders of this area was directly
instrumental in moving the United States
Government to establish Yellowstone as a
National Park.

Kennedy
Galleries, inc.

Founded 1874 by H. Wunderlich

13 East 58th Street • New York 100-22

Notre Dame des Champs
by

GEORGES ROUAULT

Oil on paper on canvas
29i x 24i inches

Signed lower right: G. Rouault
En verso: Notre Dame des Champs No. 4

Hfl fT! fTl ER GALLERIES Inc.

51 East 57th Street

New York 22

N.Y.

Cable address:
Hammergall, N.Y.

Telephone:
Plaza 8-0410

Made specially for
Antiques by Goddards

These unique polishes are made from a formula handed down
through generations and known only to Goddards. They have
remarkable cleansing qualities; give a rich patina rather than
high gloss. Both polishes maintain the condition of the finest
woods. Available at leading stores.

J. Goddard & Sons, Ltd.

3y appointment to Her Majesty Queen Elizabeth II, Mfrs. of Silver Polishes. J. Goddard 4 Sons, Ltd.
NELSON ST.. LEICESTER • U.S. Enquiries:-229 Madison Ave. N.Y. 10017.N.Y.

The Connoisseur, July, 1965

1 II

J9 East jyth Street, New York 22, N.Y., and at

400 Duke of Gloucester Street, Williamsburg, Virginia.

D A DF 0LD SHEFFIELD
l\/\JArL/ TEA MACHINE

This is. perhaps, one of the most unusual ones
ever made. The bottom revolves so that water
mav be drawn into anv one of the three tea
compartments. England, circa 1790

Wakefield-Scearee Galleries

DIRECT IMPORTERS

Historic Science Hill Shelbyville, Kentucky

on main roads (U.S.60 and 1-64) between Louisville and Lexington
Open daily 9-5 p.m. Closed Sundays Tel. (502) ME3-4382

Enjoy good
food in
Science

Hill

Both
Gallery
and Inn
located in
Historic
Science

Hill

Franchised
dealers for
Doughty,
Boehni

and
Chelsea
hirds

VISIT OUR SUBTERRANEAN SILVER VAULT

Louis XV licrgere. walnut frame B Circa 1765

KICHARDVHARE

Antiques Interiors

927 MADISON AVENUE, NEW YORK, NEW YORK 10021 (212) UN 1-6910

pierre matisse gallery

Halt h it s

If a r f v er

f" all i a a ii ii i .*

H if h i« ffe t

K i r e r a

If i ro

f, t* C or b u s i e r

Hioftelle

S a •« r a

mil are s

Butler

If arini

G i a e o in e 1 1 i

H os zali

41 East 57th Street, New York 22,N.Y.

The Connoisseur. July, loos

NEWHOUSE GALLERIES

ESTABLISHED 1X7S

The Card Game
by

HENDRICK SORGH 1611-1670
20f X 26£ inches. On panel

FINE PAINTINGS

15 East 57th Street plaza 5-4980 New York, N.Y.

LV

SPINK

BY APPOINTMENT
TO H.M. THE QUEEN
MEDALLISTS

EST. 1772

BY APPOINTMENT
TO H.R.H. THE DUKE OF EDINBURGH
MEDALLISTS

An exceptionally fine quality Queen Anne burr-w;
Secretaire Cabinet being only 32 inches wide, an
taining a good faded colour.

Height: 79 inches
Depth: 20 inches

SPINK & SON LTD 5-7 KING STREET ST. JAMES'S LONDON SW1 TEL VHI 5275 CABLES SPINK LONDON

THE

PRESERVATION
PARADOX

SOCIETY gets the architecture it deserves, but the laws of
mutation protect us from our worst mistakes. Thus, after
more than a century of increasing visual squalor, a large propor-
tion of the population of Britain seems to have acquired a resist-
ance to visual pain. Both stupidity and avarice having done their
best to wreck our cities or, by neglect, allowed their buildings to
deteriorate into dangerous structures, many of us have grown to
accept the ugliness of towns as normal and the consequent rape of
the countryside as inevitable. Until very recently, those who had
never known an existence outside cities like Birmingham were
unaware that urban life could have a dignity of its own or a town
be more than a collection of industrial eyesores and the hovels
that go with them.

The past twenty years have seen other changes in the process of
mutation brought about by the war, improvements in standards
of living, increased scope of communications and the inescapable
bomb. In spite of a tendency to cancel themselves out, these
factors have led to the emergence of a much more knowledge-
able type of person, more conscious of his physical environment
and more articulate about the unpleasant physical changes to
which the second half of the twentieth century is subject. His
type characterises the change from an acquiescent to an affluent
society and assumes a collective identity in the groups calling
themselves Civic or Amenity Societies, usually brought into be-
ing bv disinterested people who are disturbed by the present drift
towards formless towns and ravaged countryside and who be-
lieve that public interest rather than Philistinism, commercial
greed or political intrigue should be the criteria in deciding the
shape of our future environment.

Of these Societies, the Civic Trust is the paternal manifestation.
It already has some admirable work to its credit but its organisa-
tion contains, as well as the corresponding virtues, all the fascinat-
ing paradoxes of the small groups which it represents and so
judiciously guides. One of these paradoxes is, stated in the
simplest terms, how to preserve and develop at the same time.

Until the end of the eighteenth century this was never a
serious problem; but, since the Industrial Revolution, it has been
the habit of cultivated gentlemen to fuss about ancient buildings
and to leave the decisions about new ones to someone else. The
Societies are the direct heirs of Romantic Movement and usually
number anions their well-intentioned members those who are
by nature conservative and timid as well as those who are die-
hard individuals and. on principle, opposed to any enterprise
undertaken by a local authority. They make good copy for the
local press but are seldom influential, usually because they consist
mostly of amateurs. The professionals seldom go all the way and
professional architects in particular often find themselves in a
dilemma when amenity societies seek their support since emo-
tional preservationism is one of the main obstacles to getting any

development under way at all, and the most compulsive addict the
kind of person who is not very interested in contemporary issues
of planning and the social and economic problems which they
entail. Sometimes the emotional barrier is unsurmountable.

Why should this be so? Why should the preservationist be like
this and why arc there so many of him? Why do so many people
feel passionately about old buildings and indifferent to the
standards of new ones?

The first and obvious answer is that the standards by which old
buildings are normally judged are more familiar to a large section
of the public than are the standards prescribed by modern archi-
tects for their own architecture. For this architects have them-
selves partly to blame and no one who has witnessed the em-
barrassing spectacle of a famous designer mumbling his way
through a television programme on modern architecture can be
blamed for assuming that this is a subject possessing an esoteric
language which ordinary people are not supposed to understand.

Secondly, we have to remember that visually we are still in the
thrall of the Romantic Movement. Indeed, the nearer we get to
the brink of atomic destruction the rosier seems the image of the
English yeoman in his Tudor cottage, the more enviable the life
of the Georgian gentleman in the security of his Palladian villa.
There is also a growing regard for Victoriana and, on the lunatic
fringe, a movement to preserve nineteenth-century slums. We
forget, however, that we have the Industrial Revolution to thank
for giving us the leisure in which to indulge such day dreams
which are, in any case, highly selective. Most of the old buildings
we admire have survived because they were expensively built and
carefully maintained, and any comparison between their mature
and attractively weathered facades and the stained concrete face of
the cheapest contemporary building is bound to be unfavourable
to the latter. Besides, architecture is not just a question of com-
parative facades. Architecture is only succesful when it achieves
that rare and delicate balance between being useful and beautiful ;
this is the sort of beaut)' which cannot be separated out and pre-
served because it is a quality which exists only when the building
is in use.

In the vast majority of cases the usefulness of an old building
cannot be perpetuated either. When a country house is taken
over as offices or converted into flats it is not really preserved.
What survives is a pattern of windows, the image of a building in
landscape — the actual space inside has probably been stuffed full
of partitions and filing cabinets and has become something
different.

We have to face the fact that in preserving buildings, as in pre-
serving fruit, what we do is to keep intact artificially the things
which nature would allow to decay. We do it to enjoy them out
of season; it is not the same as having things fresh but it is per-
haps better than going without. When we preserve a building we

U9

Attingham Park, Shropshire, a property of the National Trust. Preserved almost intact, the house was designed in 1785 by the architect George Steuari
for Noel Hill, 1st Lord Berwick; the park landscape being designed in 1797 by Humphrey Repton for the 2nd Lord Berwick. Most of the house is
let to the Shropshire Adult College.

change its nature and the time has come not merely to ask how
to preserve but on what scale it is worth doing at all.

There are three ways in which preservation may be justified.
Firstly, when the claims of archaeology arc beyond question and
secondly, where it is possible to continue the life of a building in a
way which is consistent with its original use and design. Thirdly,
when cost to the community, in the broadest sense, is not
excessive. The real key to the paradox lies in the third of these.

It is sometimes said that it is a sign of a civilised country that it
preserves its artistic heritage ; it can equally well be argued that a
preoccupation with the past at the expense of the future is a sign
of a civilisation in decline. In any case, being civilised is not the
same thing as having good breeding; there are other more
fundamental economic, social and psychological factors which
affect preservation and development. We are in danger of getting
our psychological attitudes out of gear with the economic and
social facts.

Before the end of the eighteenth century, architectural prc-
servationism was almost unknown. Gothic architecture got its
name from those who thought it barbarous to use worn out
architecture and would no more have lived in an old-fashioned
house than be seen in public in a worn out pair of breeches. Even
in the early stages of the Gothic revival the affectation of living
in a mock mediaeval house was only tolerated if it was made quite
clear that it was really a new house and a building ruined by time
was not to be compared or confused with a ruin built to order as
part of a picturesque landscape.

A contracting society, with a decreasing population and a|
declining income, is like a man who cannot afford new clothes
and, therefore, has no alternative but to patch up his old ones. TheS
late Roman Empire was such a society and preserved its buildings'
over several centuries not out of regard for the past but through
economic necessity. By contrast, the expansionist eighteenth ancn
nineteenth centuries are full of examples of buildings erected and
pulled down and replaced several times in a few decades. In ouq
own society there is no shortage of excuses for pulling buildings
down and every Philistine who wants to do so uses the expressions
'You can't stop progress'. He is wrong because progress is juste
what you can stop : one of the established ways of stopping it is by
invoking town planning legislation to prevent new building 'in|
order to preserve the amenities of the neighbourhood'. None of]
this would happen if we could be as sure as our eighteenth--,
century forebearers that the buildings we are going to put up]
will be as good as the ones we are going to pull down. If we haq
any such conviction the desire to preserve for its own sake woulcB
evaporate.

Alas, our affluent society is also a society wracked with uncer-
tainty. In painting, literature and the theatre it has produced some1!
minor masterpieces; in architecture this is just not possible. Great|
architecture is an affirmation, and creating it calls for conviction!!
and strength of purpose. We need architects who possess thesei|
qualities and can express them convincingly, who in turn needl
the unqualified support of everyone who has the courage to live:
in the present instead of creeping back into the womb of history..

150

At the Villa Millbrook-2

Jersey's finest collection-
belonging to Mrs. Dorothy Hart

CLIFFORD MUSGRAVE

i

THE collection of Mrs. Dorothy Hart has been familiar in the
past to many art-lovers who have visited her home at Wych
Cross in Ashdown Forest, Sussex, and at 9 Hyde Park Gardens,
London. At the Villa Millbrook, St. Lawrence, Jersey, in the
Channel Islands, the collections have been given a fresh setting in
Mrs. Hart's new house, a mansion built in pink Jersey granite in
the pleasant and satisfying style of early seventeenth-century
English stone manor houses. Originally built for Sir Jesse Boot
(later Lord Trent), the house could hardly have been improved
upon for its present purpose had it been especially designed with
this end in mind.

In the previous article in the June number, the Entrance Hall,
Dining Room, Boudoir and Drawing Room were described.
These are all of medium size, suited to the needs of a small house-
hold and for private entertaining. The first two rooms arc
devoted mostly to English and Spanish furniture of the sixteenth
and seventeenth centuries, and to paintings of the Dutch and
Flemish schools. The Drawing Room, of elegant eighteenth-
century character, with pale apple-green walls and hangings, is
the setting for French and English paintings and furniture.

Two other rooms are of grander scale, admirably suited to the
display of the larger works of art and for entertaining on a
grander scale. These are a large oak-panelled room, once a Dining
Room and now the Flemish Room, where the larger Nether-
landish paintings and early oak furniture arc housed. The other is
the Music Room, imposing with its barrel-vault ceiling and gal-
lery, yet not overwhelming or unfriendly, and with light walls
and a tall bay-window.

The Flemish Room and Music Room are connected with the
Entrance Hall by means of a panelled corridor, and here are hung
a varied selection of paintings. Continuing the representation of
the Dutch school are a large oil on panel of The Old Custom
House at Rotterdam, by Abraham Storck (c. 1635-c. 1710),
rendered with his characteristic clarity of atmosphere; a stormy
landscape by Adriaen van de Velde (1636-1672); a pair of still—
lifes by Jan Davidsz de Heem (1608-1684); a flower-piece by
Daniel Seghers (1 590-1661) ; and the entrancing portrait of a little
girl, richly dressed in a long stiff skirt, holding battledore and
shuttlecock by Marcus Gheeraerts (1561-1635). Other portraits are
ofjacqueline de Busil, Comtesse de Moret, by Francois Clouet
(1522-1572), and of William Poyntz by Anthonis Mor (1512-
I576/7). Also in the Corridor is to be found an interesting and
highly rewarding group of works of English landscape painters,
of which the study of a wooden bridge over a river by Richard
Wilson (1712/13-1782) displays his characteristic impasto in
almost impressionistic freedom.

Mrs. Hart has demonstrated her belief in the great merits of a
number of lesser-known, but much under-esteemed members of
the English landscape school, in acquiring the view of Orleans
House by George Hilditch (1803-1857) ; the spirited rendering of
shipping off St. Helier, Jersey, by James Wilson Carmichael

19. The Music Room. Looking towards the Gallery and entrance recess. A
note of sumptuous luxury combined with perfect taste is struck in the furn-
ishings, by the velvet Knole sofas, the oriental carpets and the rich em-
broidery of the chairs. The late eighteenth-century chandelier is of un-
usual beauty.

151

ft

XffiS

20. /Ifeoi'f le/it. The Music Room. Looking towards the window-bay. A sense of grandeur is imparted to this splendid room by the fine barrel- vaulted
ceiling, the border and frieze of which are ornamented with plasterwork of vine-leaf and grape design. In the foreground stands a remarkable Empire 1
gilt table with sphinx supports, and top composed of various specimen marbles. To the left is an early Louis XV gilt side-table. Above it hangs Romney's
portrait of Mrs. Charteris and her children. Beyond the Brussels tapestry screen is Crossing the Brook by Henry Thomson (1773-1843), with a portrait of a
young soldier by Pompeo Battoni (1708-1787) on the end wall.

21. Above right. The Flemish Room. Dominating the room is the superb Flight into Egypt by Joachim Patinir (1490-1524). Flanking it are a pair of flower
paintings by Ambrose Brueghel (1617-75), a"d standing on a table below the right-hand bookcase is a Venetian eighteenth-century fete scene. On the right
wall are seen a flower painting by G. Van Coninxloo II (1581-1620) and a Virgin and Child by Fra Lippo Lippi (c. 1406-69). The set of four stuffed back
chairs are covered with early needlework, and the carpet is antique Chinese, in old gold and blue.

22. Left. A group in the Flemish Room.
The underlying harmony of all fine works
of art, regardless of date or period, is felt
in this admirably arranged group of
Flemish paintings, Chinese jade urns and
terracotta T'ang period figures of horses,
and a Gothic wood-sculpture of the
Virgin and Child. The centre painting is
The Adoration of the Magi by Jacob Corne-
lisz van Oostsanen (1470-1533). To the
left is a Virgin and Child by Joos van
Cleve (1404-1541) with landscape by
Patinir, and to the right a Holy Family
by Giovanni Battista Moroni (1523-78).

23. Colour Plate opposite. The fireplace
recess in the Music Room. Above the
marble Louis XIV style fireplace hangs'
John Constable's Lock on the Stour, with
its dramatic sky and intense colour. Be-
low it stands a garniture de cheminee con-
sisting of a gilt and enamel Empire clock
which through a remarkable chance was
recently reunited by Mrs. Hart with its
flanking cupid candelabra. To the right
hand the portrait of a lady in a white silk
gown with blue silk scarf is by Alan
Ramsay (1713-84). Beneath the win-
dows stands a very important marquetry
commode by John Cobb, of about 1770.

152

24. Virgin and Child in a Landscape ('The
Flight into Egypt') by Joachim Patinir of
Antwerp (1490-1524). This glorious pic-
ture, the greatest treasure of the Hart
Collection, is one of the very finest among
the exceedingly rare works by this painter.
It is characteristic of Patinir in the render-
ing of the blue distances, the tender4ight
on the far mountains, the lovely trans-
lucent tones of the water, and in the in-
numerable details of buildings, trees,
animals, flowers and even of the jewel-
like pebbles. A mood of serenity sug-
gested by the seated figures of Mother and
Child is diffused over the calm landscape,
and even silences the note of menace
sounded with the appearance of the pur-
suing soldiers from the nearby wood.

25. The Holy Family, by Giovanni Battista
Moroni (1523-1578). Born at Bergamo,
Moroni studied under Moretto at Brescia,
and derived from him his gift for por-
traying the placid tenderness of intimate
family groups which is so beautifully ex-
pressed in the present work. The colour
scheme of the picture is of great richness,
ranging from the deep blue of the Virgin's
skirt and the crimson of Joseph's cloak,
through the pale red of the sleeve and the
golden yellow of the scarf to the delicate
flesh-tones of the Child and the gold of his
Mother's hair.

154

26. French Empire marble-topped centre-table, gilt, about 1805. This splendid piece represents the grand character and magnificent craftsmanship of the
Napoleonic period at its height. The carving of the sphinx-figures, especially of the wings, the modelling of the faces, and the detail of the tablestem are
remarkable, while the arrangement of the specimen marbles in a pattern of overlapping leaves is a feature of great refinement and richness. The super-
lative quality of the table suggests Malmaison or Fontainebleau for its origin.

(1 800-1 868); and two landscapes by die Yorkshire painter Julius
Caesar Ibbetson (1759-1817), who, if anything, surpassed Mor-
land in his realistic and no-less poetical interpretation of land-
scape. One of them, a woodland scene of the river at Hawthorn-
den, with girls bathing, is especially fine.

In the summer of 1956 Mrs. Hart's collection was given a
severe test when nearly a hundred of the finest pictures and eighty
articles of furniture, tapestries and sculpture were displayed in
three large rooms of the Art Gallery at Brighton. It was ex-
tremely interesting to see at this time how in the exacting setting
of a formal art gallery, where personal associations and the
atmosphere of a home no longer added their enchantment, how
the essential excellence and homogeneity of the collection, so far
from being diminished, was in fact emphasized. The owner
suffered no deprivation from this act of generosity as she was
then travelling abroad, but burglars who had hoped to profit by
her absence found the house almost empty, and little left to steal
but some Victorian china.

Perhaps the most appealing aspect of the collection, and one
that strikes the visitor immediately upon entering, is its warm
friendliness of character. Unlike collections of the kind which
have been built up upon some arid abstract principle, and only
achieve an atmosphere of sterility and remoteness, at the Villa
Millbrook every article in the collection has been acquired, and
sometimes indeed has been pursued over many years of seeking,
because it has struck a chord of intense artistic and human feeling
and emotion in the heart of the collector. It is in this that the
collection of Mrs. Dorothy Hart strikes one so strongly as ex-
tensions of a home and of a personality.

An especially pleasing aspect of the house and of the works of
art it contains is the excellent taste with which the rooms have
been decorated and their contents arranged. As always, the guid-
ing principle has been the needs of a home, yet domestic clutter
has been avoided no less than the sterile, over-studied effects of
the professional decorator. Above all, one is conscious of the per-
fection of quality in all the works of art of the collection.

155

27. Above. A mahogany marquetry commode in the neo-classical taste, about 1770. This handsome commode is highly characteristic of the work of
John Cobb, cabinetmaker to George III. Similar examples are to be seen at Corsham Court, Wiltshire, and in the Victoria and Albert Museum. The
serpentine shape of the top, front and sides is a survival of the rococo taste of the mid-eighteenth century, but the inlaid neo-classical honeysuckle motifs
in the borders are evidence of the new spirit introduced by Robert Adam. The floral marquetry also possesses the formality of treatment typical of the

new fashion.

28. Opposite above. A River Scene in Winter, by Bonaventura Peeters (1614-1652), oil on panel, 16 ■ 22 inches. This scene of the harsh realism of the Dutch
winter, with boats trapped in the ice and travellers trying to shelter from the bitter wind under leafless trees, is yet tinged with romanticism, and is
typical of the large number of smaller Dutch paintings at the Villa Millbrook, which give the Hart Collection much of its varied interest.

29. Opposite below. Still-Life, by Jacob van Walscappelle (1644-1727), oil on panel, 13 A ■ 19 inches. This brilliantly executed still-life of currants,
cherries, pastry and nuts, with an ornamental glass is one of the many smaller Dutch paintings in which the Hart Collection is so rich.

156

157

4

s

0

Above left. Study of a nude girl. Pencil, 31 < 19 3 cm. 4th Atelier Sale, No. 289a. The British Museum. Right. Danseuse Saluant. Pastel, 60 x 45 cm.
The City Art Gallery, Plymouth.

Drawings by Degas in English
public collections: 3

RONALD PICKVANCE

BEFORE discussing a group of drawings which show some
aspects of the most immediately popular of Degas's chosen
subjects, dancers at the Opera, a sheet at the British Museum
deserves attention. A nude adolescent girl is seen leaning back-
wards, apparently unsupported; originally her position was more
upright. This is not a studied academic drawing, but a rapid
searching for a pose. At first sight, it bears some resemblance to
the group of young girls in James Spartiates S'exercant a /<; Lutte,
where, in the painting, subsequent changes in their position can
clearly be seen. In fact it is a study for a painting executed in the
mid-1870's and apparently exhibited both at the second Impres-
sionist exhibition of 1876 and at the third the following year.
This painting, Pctites Paysamies se Larant a la Mer, vers le Soir

(Lemoisne 377), is a curious production and has no parallel in the I
rest of Degas's oeuvre. Three nude peasant women occupy thej
entire foreground — and indeed dominate the picture — as, with]
hands joined, they disport themselves in the sea. Beyond them,
to the right, is a jetty and part of the coast; and with her bonne,
another young nude girl may be seen combing her hair, the fore- j
runner of a protracted scries in the next two decades. What,
however, is unusual for Degas at any stage is the attempt to
convey the abandoned movement of the three women, a sort of
animated Three Graces. Moreover, the flattened simplified
modelling of their bodies seems to prefigure Gauguin and gives
them affinities with Bonnard. The painting, however, remained
in Degas's studio until after his death and is now in a French j

158

private collection. The British Museum drawing (4th Atelier
Sale, 289a) appears to be the only surviving study; the initial
feeling of unbalance in the figure is explained by the eventual
position in the painting, where, in their frolic, her outstretched
hand clasps her partner's. In style, it forms a fascinating interlude
between the early, more finished studies of nudes connected with
some of the history pictures and the later, more characteristic
works, which will be discussed in the last article of this series.
The use of pencil gradually declined in the 70's; chalk, charcoal

, and pastel became Degas's favourite media. His search for a more
expressive 'handwriting', already noted in the British Museum
jockey and the drawing of Miss La La, is also evident in the pastel
study of a dancer, now in the City Art Gallery, Plymouth. Both
Lemoisne (No. 612) and Miss Browse, in her book on the dancers
(pi. 169a), have reproduced this pastel, but on a very small scale

' and without giving its present location (it was bequeathed to the
gallery by A. A.de Pass in 1926). It is related to a number of studies
in which Degas observes dancers, with or without bouquets,

* taking their bow. At this particular period— the late 70's — he
would often use pastel for his preliminary studies, applying it like
coloured chalks in a wholly traditional manner. Subsequently,
he abandoned this procedure and with experimental brilliance,
built up the pastel layer by layer in the manner of oil-painting.
There is a charming prettiness, a souffle quality about the

j Plymouth drawing, which makes a striking comparison with a
sheet of some twenty years later, now in the British Museum.
Degas once remarked : 'They call me the painter of dancers, not
realising that for me the dancer has been a pretext for painting
pretty materials and delineating movement'. Here are no pretty

Above. Four Dancers. Charcoal and Pastel, 32 X 57 cm. The Whitworth
Art Gallery, University of Manchester.

Left. Study of a nude. Charcoal, 36 x 27 cm. 3rd Atelier Sale, No. 185.
The British Museum.

materials, no frills of any sort; the nude figure dominates the
sheet with a massive, sculptural simplicity. The charcoal has
become a violent, almost searing instrument, biting the contours
and tangling the modelling in a maze of hatchings. This is a far
cry from Ingres, and yet the principle behind the method of
working remains much the same. Just as in the many drawings
for individual figures in his early history pictures Degas would
proceed from nude to draped studies, so in the late dancers he
would frequently draw from the nude and then 'dress' her in the
finished pastel or painting. Thus was the present study suitably
attired for the painting now in the National Gallery of Art,
Washington.

This drawing also illustrates a practice which was used in-
creasingly in Degas's late period: the taking of counter-proofs
from his charcoal drawings, simply by pressing a clean sheet of
paper against an existing drawing. The British Museum study is
the original from which the counter-proof was taken. Another
example of this procedure occurs in the Four Dancers, now in the
Whitworth Art Gallery. In this instance, however, the drawing
is the counter-proof, evident in the pale charcoal lines, subse-
quently touched here and there (e.g. in the hair) with yellow and
brown pastel. With the original design (Hermitage Museum,
Leningrad; Lemoisne 1358), it belongs to a group of pastels
dating from 1899, in which three or four dancers, seen half-
length, overlap in a series of contrasted movements, and create the
effect of a deeply-cut polychrome bas-relief. Thus did Degas
exploit to the full a limited repertoire of poses. But if his art
contracted it also intensified ; there is a sublime grandeur in these
late drawings.

159

Some unrecorded Masonic
Ceremonial Chairs of the
Georgian period

FREEMASONS' HALL, London, contains a remark-
able collection of over twenty ceremonial chairs of the Geor-
gian period previously used by Masters and Wardens, and in-
cluding the superb Grand Master's throne, used on occasions,
which was made to the order of the Grand Lodge of England.
These chairs are fine examples of the joiner's craft and a reminder
that the making of chairs for formal occasions was regarded
throughout Georgian times as a specialised branch of joinery,
reflecting the joiner's ancient responsibility for the chair of state.

The importance of the Georgian joiner has been unfairly
obscured by the relative decline of joinery when cabinet-making
gradually established itself after 1660. But the continued con-
nection between joinery and high-class chair-making is clearly
seen in the duties of the royal joiner, who, under the direction of
the Master of the Great Wardrobe, not only supplied and re-'
paired all types of chairs for the royal households, but retained
as his chief function the production of the great chairs used for
state and other special occasions. The court joiner — officially
styled 'Joiner and Chair-Maker' — normally shared the task of
supplying royal furniture with two cabinet-makers, an uphol-
sterer and a coffer-maker, but only the joiner and coffer-maker
were entitled to wear livery, and receive a money grant to pur-
chase it, as a symbol of their ancient office. Catherine Naish, for
example, after being sworn in as royal joiner, was granted in
1761 — -£4 for four yards 'of Broad Cloth for a Gown', and £4
for 'one Furr of Budge for the same Gown'. Another important
function of the court joiner was to make ceremonial chairs for
English diplomats abroad. In 1720, for instance, Richard Roberts,
royal joiner since 1715, made 'Two walnuttrec State Chair
frames finely carved and polished, four large square stool frames
suitable, two footstools suitable' for the ambassadors at the Con-
gress of Brunswick and at the court of France, and followed
these with three more ambassadorial chairs in 1728. The joiner
supplied the frames of such chairs, leaving the court upholsterer to
cover them, but Roberts's accounts show that he was responsible
for the carving on his chairs.

Outside court circles many large and magnificent chairs were
made by joiners for the Inns of Court, the City Companies and
Masonic Lodges. Some outstanding examples survive. In London,
the Master's chair of the Joiners' Company, carved in 1754 by
Edward Newman, who had himself been Master of the Company
in 1749, is still in use. But as such presidential chairs have not
been classed as domestic furniture, they have not received the
attention given to those in royal residences, or to the numerous
fine chairs in private houses. That is why special interest attaches
to the collection at Freemasons' Hall, a selection of which are
now described and illustrated. A feature of these chairs, it will be
noted, is the way in which they closely follow the prevailing
contemporary styles (and are indeed excellent examples of them)
while often at the same time skilfully incorporating the tradi-
tional masonic emblems in their decoration.

I. Mahogany Master's Chair, reputed to have come from Chippendale's
workshop, c. 1760.

t6o

2. Mahogany Master's Chair, in the rococo taste c. 1760.

This feature can be seen in No. 1, illustrating a fine mahogany
Master's Chair, the property of Britannic Lodge No. 33, which
was made c. 1760 and is reputed to have come from Chippen-
dale's workshop. At the back stand, on plinths, two attached
Corinthian columns, partly fluted and reeded, enclosing two
pilasters and an arch. The surmounting emblems of sun, moon
and stars, the capitals of the columns and pilasters, the arch
and keystone (marked with 'G'), and the scrolls attached at
the sides, are all gilded. The upper side plinths supporting the
emblems are in classical style with dentil moulding. Yet the
classical treatment of the back is cleverly blended with manner-
isms of the contemporary rococo taste, seen in the carved scroll-
work above the arch (enclosing the open bible, which is made of
metal, and supporting the central sun), the side scrolls, the arm
supports, and the cabriole legs ending in French scroll feet
(which came into fashion in the early 1750's). The seat rails have
low relief lattice ornament. The whole chair exhibits craftsman-
ship of the highest order. En suite with it, though on a smaller
scale, are the two chairs for the Senior and Junior Wardens
which are identical except for the appropriate wardens' emblems,
and have the same treatment of seat-rail, arm-supports and

3. Mahogany Master's Chair, the design of the splat taken from Plate XI
(see No. 4) of Chippendale's Director (1762), r. 1765.

cabriole legs, as the Master's Chair. They differ from it in having
two wider and taller Ionic columns at the back, reaching down
directly to the seat, and less decoration. Both have delicate
rococo carving on their surmounting arches.

Another set of three mahogany chairs, the property of Strong
Man Lodge No. 45, of about the same date as the previous group,
are fully in rococo taste. All three have the curved backs, here
filled with leather, which, 'open below' are described in Chippen-
dale's Director as 'French Elbow Chairs'. Each of the chairs has
four cabriole legs, the front pair carved at the knees and feet, the
back pair of plain type with club feet. The Master's Chair (No. 2)
of this set has certain distinguishing refinements: lion's head
terminals to the arms, a carved cabochon on the knees of the
front cabrioles (which have paw feet), and low-relief carving on
the seat-rail, while the Wardens' Chairs have scrolled ends to
their arms, carved acanthus leaves on the knees of the cabrioles
(which in each case terminate in claw-and-ball feet), and plain
seat-rails. The backs of all three have imposing crestings finely
carved in rococo fashion. Their grooved frameworks also have
low-relief carving — the Master's with foliage, the Senior Warden's
with masonic emblems, the Junior Warden's with hatching.

161

162

■

Left to right above. 8. Carved and gilt Grand Master's Throne, made in 1791 for the Prince of Wales (Grand Master, 1790-1813). 9. Carved and gilt chair
made in 1791 for the Earl of Moria (Acting Grand Master, 1790-1813), the chair decorated in the Louis Seize manner (cf. No. 10). ro. Carved and gilt
armchair, by Georges Jacob (part of a set), at Buckingham Palace. Reproduced by gracious permission of Her Majesty the Queen.

The mahogany Master's Chair illustrated in No. 3 is a re-
markable specimen. The large circular cresting enclosing the
square is supported by two Corinthian columns between which
is a beautifully carved and scrolled splat identical (except for
modifications at the top and bottom obviously dictated by the
great size of the chair) with a design on Plate XI in the third
(1762) edition of the Director (No. 4). Rarely can formal classi-
cism (the columns), and its antithesis, the rococo (the splat), have
been placed in such close juxtaposition on a piece of furniture.
Yet the whole chair is a masterpiece of controlled design. The
low-relief carved decoration on the uprights, arms, seat-rail and
legs is mainly in the form of foliage, with a few masonic em-
blems (e.g. on the shoulders of the uprights, where they are
gilded, and on the front legs). The carved foliage shows signs of
the neo-classical taste, and suggests a date off. 1765 for the chair.
The two matching Wardens' Chairs that accompany the Master's
Chair have the same decorative treatment in simpler form. Their
uprights are pilasters enclosing a splat in rococo style (but not, in
this case, bearing similarity to a Director design), while the carv-
ing on the legs includes lattice-work and a bell-shaped flower
with foliage which is even more indicative of neo-classical in-
fluence.

Classical taste is very evident in the chair illustrated 111 No. 5.
Made of very dark mahogany, it has reeded half-round Ionic
columns. An inscription on a brass plate fixed to the top of the
keystone states that this chair was presented to the Grand
Master s Lodge in 1793 by William Dickey, Deputy Grand
Master of the 'Antients', and formerly belonged to Lodge No.
14, of which Dickey was the last surviving member. The scrolled
terminals to the arms, the tenoning of the arm supports to the
side rails of the seat, the fluted and tapering front legs, and the
carved foliage on the back framework all imply a date off. 1770.

Three pairs of mahogany chairs in the collection are of the

Hepplcwhite period. One pair is distinguished by very tall
backs, the Master's Chair being illustrated in No. 6. Its back has
an interesting set of decorations in popular neo-classical style :
the Prince of Wales's feathers, two large oval paterae terminating
in sprigs of foliage, and finely carved ribbons. There are also four
painted plaques, a much favoured form of decoration at that
time. Despite its great size, the chair preserves considerable
lightness of appearance. Its companion has a smaller set of Prince
of Wales's feathers, with three painted plaques, the central one
taking the form of a plumb rule. Another matching pair of
Wardens' Chairs, of less imposing height than the previous pair,
also has decoration of painted plaques, combined, however, in
this instance, with Gothic tracery.

The other two chairs of the Hepplewhite period, both Wardens',
and the property of St. Paul's Lodge No. 43, are perhaps the most
graceful in the collection. They have attractively curved backs,
arms and stretchers. The unusual scrollwork that fills the back of
the Senior Warden's Chair (No. 7), enclosing the level at the top,
is made of laminated wood, a material that had been used since
the Director period to build the open fretwork found on furniture
in the 'Chinese' style. The Junior Warden's Chair has similar, but
not identical, scrollwork, centring, in this case, in the plumb rule.

For students of English furniture styles, the gilded throne and
chair illustrated in Nos. 8 and 9 will be of special interest. They
were both made in 1791 and represent the early phase of the Re-
gency style, when it came under strong French influence and fol-
lowed the romantic classicism of the Louis Seize manner (many
aspects of which had been anticipated by Robert Adam) before de-
veloping into the rigid archaeological interpretation of its later
(and more familiar) stages. The Grand Master's Throne is undoubt-
edly the outstanding exhibit. It was originally surmounted by
the Prince of Wales's feathers encircled by his coronet, to com-
memorate the Grand Mastership of the Prince of Wales (later

163

Left to right above. II. Small mahogany armchair in the Hepplewhite style, with shaped and bowed stretchers, 'saddle' seat (St. Paul's Lodge). 12.
Master's Chair of the Lodge of Fortitude and Old Cumberland (No. 12), inscribed in the head with masonic emblems. 13. Windsor type chair, in-
scribed 'Old Concord Lodge of Instruction 201'.

George IV) from 1790 to 18 13. The present coronet on cushion
replaced the feathers in 1901 when the Duke of Connaught held
that high office. French decoration was eminently suited in 1791
to the taste of the Grand Master, for the Prince of Wales, in
opposition to his father, had decided pro-French sympathies and
had been instrumental in introducing the Louis Seize style into
England. Since 1783 he had been stocking his official residence,
Carlton House, with fine furniture bought in Paris by his agent,
Dominique Dagucrrc. His purchases included seating furniture
(some of which is now in Buckingham Palace) stamped with the
name of the famous ebeniste, Georges Jacob, who originated the
early classical phase of the Louis Seize style. French influence can
be seen in the tapered legs of the throne, particularly the front
legs with their diminishing foliage, and in the rosettes on the seat
rails. The arms and their supports form a remarkable double
scroll of acanthus leaves, incorporating lions' heads and claws.
Finely carved acanthus leaves also encircle the base of the central
plinth. Imposing Doric columns, supporting the arch and side
plinths, form the back uprights. The upholstery of royal blue
velvet makes a striking contrast with the gilded framework. The
throne has two accompanying Wardens' Chairs of the same date
and style.

The throne and its accompanying chairs were made by Robert
Kennett, who appears in Barfoot and Wilkes's Universal British
Directory (1790) as 'Upholder and Cabinet-Maker', of 67, New
Bond Street. Heal's London Furniture Makers states that Kennett's

working life covered the years 1779 to 1796. There appears to be
no other information about him, though the quality of his work
and the fashionable location of his shop indicate that he must
have been a maker of standing and ability. The very fine chair
(No. 9), contemporary with the throne, was made for the Earl
of Moria, Acting Grand Master between 1790 and 1 813. Its pre-
dominant French character can be seen in its close resemblance
to four fauteuils by Jacob in Buckingham Palace (No. 10),
especially in the shape of the back, the rosette decoration, and
the typical junction of arm supports and seat rails. The four
legs are of lion's paw form, the two rear ones being hock-shaped.
The lions' heads and foliage decoration resemble those on the
throne. This chair may also be the work of Kennett, and possibly
one of the skilled ebenistcs who then worked in London had a
hand in it. j
The Regency section of the collection is completed by four
chairs presented to the Grand Lodge by the Duke of Sussex,
Grand Master from 1813 to 1843. All four arc gilded and have
rectangular plaques, decorated with festoons of husks, centrally
placed at the top of the back and on the front seat rail. One chair,
larger than the rest, has typical French 'peg top' feet with spiral
ribbons and foliage. The rest have turned circular legs.

The author wishes to thank Mr. A. R. Hewitt, Librarian and Curator of thel
Grand Lodge Library and Museum, Freemasons' Hall, London, for valuable help
ami advice. Illustrations Nos. 1,2,7,11 and 12 are reproduced by courtesy ot Lodges
Nos. 12, 33, 43 and 4s and the Board of General Purposes, Grand Lodge; illustra-,
tions Nos. 3, 5, 6, 8, 9 and 13 by courtesy of the Board of General Purposes.

164

A fresh look at
some Velasquez
self-portraits

IOSE GUDIOL

THE study of the works of this great Spanish artist is far from
being completed. Each generation of researchers and histor-
ians has to undertake it on their own behalf, in order to present
new theories which may occur to them, as well as to throw fur-
ther light on dating ami undocumented works.

It is for this reason that I am again considering the apparently
well-worn subject of Velasquez's self-portraits. Old catalogues
and documents refer to some of them. In his book 'The Art of
Painting' Pacheco, who was both the great painter's teacher and
his father-in-law, mentions a self-portrait by Velasquez in his own
collection, painted during the former's visit to Rome (1629-30).
In the inventory which was drawn up in 1642 of the collection
belonging to the Marquis of Leganes, the following appears: 'a
half-length portrait of the painter Velasquez, executed by him-
self, of 36 inches in height and the same in width: 400 reales'.
Also, in the inventory of Velasquez's possessions compiled at his
death there appears the following note: 'A portrait of Diego
Velasquez, unfinished in the dress'. Another self-portrait was sold
when the possessions of Gaspar Mendez de Haro y Guzman,
Marquis of Hcliche, were auctioned. Cosimo de Castigliom
mentions in letters patcd 1689, written from Spain, that he was
intending to buy a self-portrait by Velasquez at this very auction
for the Medici Collection in Florence which had been started by
Cardinal Leopold de Medici and Cosimo III de Medici. Goya
also possessed a self-portrait by Velasquez.

One of the fundamental elements in the Velasquean icono-
graphy is the self-portrait in Las Meninas (1656). The almost
Impressionist treatment of the work gives more value and em-
phasis to delicate gradations of tone than to precise definition of
form. Nevertheless, it does show us the formal characteristics of
his features. It was painted during the last years of the painter's life.
But what did he look like in his youth >

To answer this question I propose to accept as an important
testimony in the Velasquean iconography a supposed portrait,
hitherto unpublished, which hangs in the Episcopal Palace at
Granada. It forms part of an old selection of portraits of artists
and famous people, and can be identified by an inscription which
belonged to the original painting, which is in oil on canvas.

Judging from the pictorial conception and style it would
appear to belong to the Madrid School dating from the last
quarter of the seventeenth century. It has affinities with the
technique of Claudio Cocllo; though it is impossible to be more
precise at the moment. As we are undoubtedly dealing with a
work executed very shortly after the death of Velasquez, it is
logical that the collector of this scries of portraits at Granada
would choose as a model for the painting one that was, beyond
any doubt, reliable and authentic; in this case a self-portrait of the

I. Self portrait by Velasquez, detail of 'Las Meninas', Prado, Madrid.

young Velasquez, since lost. The painting in question shows a
long-nosed young man of very pronounced features, with one
very noticeable facial characteristic: the tip of the nose shows a
slight, but definite, depression in the centre. This depression of tlx
nose confirms an ancient tradition that the young man who
appears on the right-hand side of the painting of The Surrender of
Breda (1635) is, in fact, a self-portrait. I feel that both these
persons identify each other, thus giving us a fairly exact idea of
the facial aspect of the young Velasquez. It is convenient to refer
here to another supposed self-portrait of the young Velasquez,
which is in the Metropolitan Museum of New York. I have not
been able to examine the work well enough to be able to judge
whether, or not, it is an authentic work of the painter. But what
does seem sure is its identification with the same person in The
Surrender of Breda. Thus we have a new link forged in the chain.

Another well-known self-portrait is that 111 the Ufhzi, Florence.
It once formed part of the collection of portraits of celebrated
people which was started by Cardinal Leopold de Medici and

165

2. Portrait of Velasquez, anonymous painter, seventeenth century, Episcopal Palace, Granada.
of Breda, Prado, Madrid.

3. Self portrait by Velasquez, detail from The Surrender

catalogued circa 1681. The surface of the canvas is so darkened by
layers of old varnish that it is impossible to distinguish much of
the detail. At all events, the early stages of the cleaning operation,
which I witnessed, confirm, in my opinion, its attribution to
Velasquez. It would appear to be an unfinished work. On the
left-hand side he has got no further than the preliminary brush-
strokes. It is to be hoped that the cleaning of this important
painting will permit its classification as an authentic work of
Velasquez, thus giving us another definite landmark in the
chronological series of self-portraits done in his youth by the
great painter to Philip IV.

There is another self-portrait in Paris (Bic Collection) where
the painter appears more mature than in the Florentine painting.
The work is in a good state of preservation, apart from some
areas of shadow where the painting appears rubbed, and to have
suffered somewhat. As regards colour, black dominates over a
white ground. In passing, it should be mentioned that artists of
the Sevilian and Madrid Schools of Art of the seventeenth
century nearly always painted on a red ground (prepared with
red earth from Seville) and that only Velasquez — and then only
after his first period — adopted the method of painting over a
white ground. As regards style, certain qualities stand out: the
simplicity that is a hall mark of Velasquez's work; the strength

and the intensity which appears as much in his conception of
form as in the graphic clarity of execution ; and in the presenta-
don of the figure as a whole, as in the facial details and firm un- j
flinching gaze. The long sure brush strokes which model the j
form together with light are almost the signature of Velasquez,
Also the pentimenti noticeable in his work appear here in the con-
tours of the body and of the head.

Continuing the description of the paintings in chronological |
order and basing this on the physical aspect of the subject re-
presented, I should now mention the self-portrait in the Museum j
of Fine Arts in Valencia. The majority of art-historians and I
critics have always accepted it as authentic. Painted in a somc-J
what similar style to that in the Bic Collection, it presents his
facial characteristics very clearly. Again the characteristic shape
of the tip of the nose is very apparent. Unfortunately it is im-
possible to examine this work satisfactorily due to accumulated
layers of varnish, which have darkened with time. Judging from I
his age, as it appears to be here, this must have been painted
shortly before the self portrait in Las Meninas.

To complete the list of works already discussed, I should men- 1
tion four portraits which are numbered among those which can .
be confirmed as being, without any doubt, not the work of
Velasquez himself; though in many ways the technique is similar. I

166

5. Self portrait by Velasquez, Valencia Museum of Fine Arts.

4. Self portrait by Velasquez, Bic Collection, Paris.

These are presumably copies of self-portraits which have been
lost; or perhaps portraits done by his colleagues. The general
tone of these works is, despite this, markedly typical of Velasquez,
and one can say that they are obviously influenced by the spirit of
the paintings executed by the artist of Las Meninas. The portrait
in the Munich Museum is, most probably, the work of Martinez
de Mazo, Velasquez's son-in-law, and one can almost say the 'offic-
ial copyist' of his paintings. His technique testifies to this: the
characteristic brush strokes forming a delicate tracery over the
black background of the costume and the subtlety of the model-
ling of the head. Another portrait of Velasquez, somewhat
similar to that represented in the Bic Collection, was identified
some years ago as the one formerly in the Bridgewater Collec-
tion in London. This is, without doubt, a copy of a lost original.
It is a well-painted work but quite different in style to that of
Velasquez. The facial expression is more impersonal and less
typical than in any of the works previously mentioned. It should
again be pointed out that all these works which are not by Velas-
quez himself show, just as the self-portraits do, the characteristic
detail of the depressed tip of the nose. Thus they serve as a con-
firmation of those works which may be accepted and listed as
authentic works by him.

The example in the Cook Collection is only known to me
from photographs, but it would appear to be a copy of an un-
known original. The position of the head coincides with that of
the portrait in the Valencia Museum, if not exactly. Also, Velas-
quez appears to be somewhat younger. This work is distingu-
ished by its firm energetic modelling and the remarkable quality
of the drawing. The painter's expression reflects a serene, rather
distant, attitude which appears somewhat studied and is more a
product of the time.

Translated by Simone Mathews.

6. Self portrait by Velasquez. Uffizi, Florence.

167

A documentary

Davenport

service

THE Davenport factory at Longport in the Staffordshire
Potteries produced a very wide range of fine porcelains,
decorative earthenwares and useful ironstone type pottery from
1793 to 1887. They were also one of the few pottery firms to have
produced glass. The factory has been neglected by ceramic
writers mainly, one supposes, because very little is known about
it or its wares; few documentary specimens of the latter have
been recorded.

A fine earthenware Dinner Service now in the possession of
Messrs. Godden of Worthing Ltd is of unusual interest, not only
for its merits as a dinner service but also because the original
account has been preserved. The service itself is most charmingly
printed in three colours, the wide ornate border in a delicate pale
blue, the centre landscape design with figures in green and black.
This three colour printing is very rare at this period although
later in the century multi-colour printing was widely used.

The use of colours other than blue for underglazc printing was
introduced in the late 1820's. Simeon Shaw writing in or before
1829 stated: 'Very recently several of the most eminent Manu-
facturers have introduced a method of ornamenting Table and
Dessert Services using red, brown and green colours, for beauti-
ful designs of flowers and landscapes . . .'

The dinner service was potted in 1835 ; for, as Geoffrey Godden
has pointed out in his comprehensive Encyclopaedia of British
Pottery & Porcelain Marks (1964), the standard Davenport im-
pressed mark found on earthenwares often includes the last two
numerals of the year of production placed one each side of the
anchor mark. This is the case with the dinner service here under
review — apart from the standard impressed mark the service also
bears a printed mark which includes the name of the pattern
'Muleteer' and the name Davenport.

This three colour Staffordshire earthenware dinner service
now comprises: 1 large soup tureen, cover & stand (there may
originally have been two of these), 6 smaller covered tureens &
stands, 4 vegetable dishes & covers, 1 salad bowl, 1 large welled
meat dish with separate strainer dish, 12 platters in various sizes,
34 dinner plates, 18 soup plates, 24 sweet plates and 18 side plates.
The original account from Messrs. Davenports in 1840 prices this
service 'for 12 persons' at £jh/-\ 18 extra 'cheese' plates were
also purchased for 7/6 and 6 soup plates for 3/6. While adverse
criticism is often heard of the low wages paid by nineteenth-
century manufacturers, it would seem that the wages were really
not unreasonable when related to the selling price of the finished
article and to the cost of living at the time.

Other interesting prices on the 1840 Davenport account in-
clude: '2 quart decanters richly cut' £1/15/- and 2 pint ditto
^1/4/-; there is also a china teaset, Etruscan vase pattern, the
pieces listed separately — the teapot & stand costing 5/2.

Mr. Godden, already known for his extensive researches and
books on nineteenth-century ceramics, would be most interested
to hear from any readers possessing accounts or other documents
relating to British pottery and manufacturers. His address: 14
Sompting Avenue, Worthing, Sussex.

/M',/ j/r/rf /,/«£/., !'%
of ^ bina .tf artbf n aelarFauo I

The original bill (above), dated 14th January 1840, for a Davenport earthen-
ware dinner service printed in three colours, part of which is seen below,
shows the price of this service 'for 12 persons', to have been £j. 7. od.

168

Contemporary
French Beau Livre (10)

The lithographic
illustrations of
Andre Minaux

W. J. STRACHAN

IT appears to be part of the romantic convention that poets
should be mad, that artists in general whether in words or paint
should be occupied in polarising some neurosis, that inventions
connected with science or art should be the product of the flash
of inspiration. We tend to forget that it took the genius of Leo-
nardo da Vinci to exploit with success the blot of ink, that if — to
come to our own time — Henry Moore discovered the potential
of water-colour applied over wax chalks in his shelter drawings
by chance experiments with a child's Woolworth set, it was as
ever, previous experience combined with artistic acumen that was
the indispensable condition.

The sine qua non in the case of Senefelder's invention of litho-
graphy was his continual experimentation with engraving and
researches on methods of duplication. That famous laundry bill
was written on a Solenhofen stone plate, not the corner of the
apocryphal washstand and it was his previous knowledge of
print-making that prepared him for this discovery. This is not to
belittle its incalculable importance. On the contrary, I think it is
pertinent to begin this article on one of the best masters of litho-
graphy of our time by saluting the inventor who so enriched the
artists' vocabulary and added a new dimension to book-illustra-
tion in the sense that it made possible a genre of illustration
specifically suited to painters to whom colour and tone pre-
dominate over purely linear qualities. It was a happy accident of
fate that just such a painter was available and realized the potential
of this new medium only twenty years after Senefelder's inven-
tion in 1798. The painter was of course Delacroix and the book the
famous translation into French of Goethe's Faust. The exploita-
tion of colour lithography particularly as a reproductive method
in polychromatic horrors involving literally scores of separate
colours is well known. It was used in monochrome in a painterly
way by Daumier, Diaz and Corot and in book-illustration by
Manet for Poe's The Raven (Le Corbeau) in 1875 and above all by
Toulouse-Lautrec, perhaps the greatest exponent of the medium
in several books, including the famous Histoires Naturelles of Jules
Renard. As one considers other painters who have excelled at
lithography — Bonnard, Vuillard, and in our day Derain, Gocrg,
Gris, Clave, and among the younger generation Aizpiri and
Minaux, one notices that on the whole they are, with the possible
exception of Gris, artists whose outstanding qualities are colour
and sculptural qualities. Nor is it without significance that sculp-

I. In-text from one of Minaux's 'Trois Fabliaux du Moyen-Age'.

tors arc among them — notably Maillol,Dcspiau,also Moore who
contributed colour lithographs to Promethee, published in Paris.

It is not surprising then that Minaux in whose painting model-
ling and strong — and recently — 'fauve' colours are such striking
features, should have chosen lithography rather than any form of
metal or wood-engraving as his medium for book-illustration.
Perhaps he was also influenced in this direction by two of the
senior artists to whom he acknowledges a debt, namely Brianchon
and Oudot, both notable lithographers whose works I noticed
along with Minaux's at the 1963 Exhibition of the Peintrc-
Graveurs Francais in the Bibliotheque Nationale, and well repre-
sented at the Musee Nationale d'Art Moderne in Paris (though
oddly enough not at the Tate where Minaux has preceded them).
Minaux's contribution on that occasion were Femme a la Veste
and Gitaue. The former has an interesting relationship with some
of the lithographs illustrating Le Petit Ami (Nos. 6 & 7) reproduc-
ed in this article, showing how the larger scale work for prints
proceeds side by side with illustration, the one genre helping the
other in development of idiom and technique. So one notices a
considerable modification in both these aspects between the first
book — illustrations reproduced here and those for the Leautaud
novel mentioned above. This evolution runs parallel to a similar
one in his painting. The earliest examples of this which bears a
relation to his books is the Nature-morte bought by the Tate

169

LES TROIS

2. A title page for Les Trois Aveugles de Compiegne (28 • 22 cm.).

3. From Les Philippe (32 X 25 cm.), an expression of frankness and beauty.

Gallery in 1951. Minaux used rather sober colours during that
period and for the year or so following, but the lyrical element is
readily discernible, particularly in the seven other oil-paintings of
his which formed part of the fascinating exhibition at the Tate
Gallery in 195 5 under the rather misleading title of 'Four French
Realists' since none of them (the others were Rapp, Montane and
Vinav) qualify in their work for the brutal connotation of the
label.'

Actually Minaux had started by painting carcass and butcher-
shop themes, but as was the case with Rembrandt and Soutine
the results of his observations were things of beauty and not
horror. As far as out-of-door subjects were concerned I would
associate Minaux with both Courbct and Gauguin — the latter in
the strong sense of pattern. This is noticeable in a painting entitled
Onus mon Jardin (a design of pruned branches and ladders) echoed
in, say, the lithograph in-text reproduced here (No. 1) from one
of the Trois Fabliaux dit Moyen-Age 'le Lai de l'Oiselet' — an
effective page. Although these illustrations were commissioned by
Les Bibliophiles de l'Est, the three tales belong to the North of
France, and were written in the first half of the thirteenth century
by professional jongleurs' or 'menestrels' as they were called.

The adaptor, Paul Imbs has produced a modern version of what
was fundamentally the dialect of the Ile-de-France. They have
provided Minaux with a fascinating text and an opportunity for
three fine title-pages of which the most striking to Les Trois
Aveugles de Compiegue (No. 2) recreates the semi-satiric nature of
the fabliau which traditionally made fun of all classes of society.

This particular one is set on the road from Paris to Compiegne.
The illustration with its humorous observation — not without
pathos — recalls the peasants we see in a Brueghel landscape. The
title-page to Le Lai de l'Oiselet, a kind of fairy allegory, shows a
peasant's broad-brimmed hat — back view — the owner is
apparently watching a plump bird (it represents a kind of singing
clerk and poet in the story) grotesquely leaning forward on a
tree branch. The drawing seems to be done with lithographic
chalk in some parts over a fine screen — a technique that will be
remarked in many of the illustrations reproduced. The title-page
to the third story Lc Dit des Perdrix is a skilful design of two par-
tridges which come to a predictably sorry end on the kitchen
table as depicted on an in-text on another page. Altogether an
extremely successful early work.

But already in the lithographic illustrations to Les Philippe — a
novel by Jules Renard — commissioned by Les Francs-Bibliophiles
(one of the most enterprising and discriminating bibliophile
societies as readers of The Connoisseur will have noticed, and
responsible for Brillat-Savarin's Aphorismes with mezzotints by
Avati, Apollinairc's Heresiarque with etchings by Ramondot)
Minaux is beginning to broaden out. This is partly due to the less
light-hearted text; but even the still-life subjects are richer; the
double-spread decorations are less tight in design — one with
ducks swimming and waddling by a weedy pond is typical. He
continues to exploit the beauty of homely domestic objects —
jugs, pitchers, wooden stools, dishes, tureens, oil-lamps, table
utensils. In these poetic interpretations Minaux is in the French

170

tradition, the line that goes back through Fantin-Latour, Com bet,
Corot, Millet, to Chardin and ultimately the brothers 1 enain; it

I produces art that stands half-way between Italian idealisation and
riordic realism and one that makes a proper, it sometimes un-
conscious appraisal of the things of everyday life. Gertrude Stein
in her curious but fascinating book Paris Prance expresses it per-
fectly— she is writing about Paris in her childhood days ' . . . we
dways for dinner had a roast of mutton . . . but the thing that was
most exciting were the knives and forks. The knives had been
sharpened so much that the blade was as thin as a dagger with a
slight bend on the top . . . These knives and forks were the most
passionately French things I knew, I might say ever knew . . .
Then there was Millet's Man with the Hoe ... 1 w as about twelve

j dv thirteen years old, I had read Eugenie Grandet of Balzac, and I
did have some feeling about what French country was like but the
Man with the Hoe made it different, it made it ground not country
... France is made of ground, of earth'. In Les Philippe we arc
thus close to the peasant world, the earth that Minaux as a sports-
man and countryman understands and loves, as we see in such
paintings as Les Deux Pecheurs and the lithographs to the present
book. It is not the English, slightly sentimental love, it conies to
grips with an often brutal text: 'Le couteau penetre si aisement
qu'il semble que ce soit agreable au cochon . . .' He portrays with
wit but not archness the magpie in the story of which the author
says 'En habit du matin au soir, e'est notre oiseau le plus francais'.
He can express the beauty of fecundity with frankness and beauty
as in the figure of the woman with bared breasts (No. 3). This is

.7

cot£ dc M"° Faylis, qui attendait Ic moment d'entrer
cn scene. « II y a bidn longtcmps que je vous ai vuc.
Mademoiselle*, lui dit, en tui disant bonjour, 1'ami avee

4. From Le Petit Ami (38 28 cm.). Here Minaux advisedly uses a
Toulouse-Lautrec lithographic technique of spattered dots and lines.

inemc les aimer beau
coup. Mais le plaisir
qu elles me donnent est
pcut etrc mi pcu parti-
culicr. C 'est -a dire -
Ah! m interrompit elle
ici cn riant dcccquclle
appclait ma chastctc.
vous m ave/ encore 1 air
d un drole dc garcon ! »

II y eut un silence,
comme si j'avais 6t6
froisse. Elle jouait avec
la troussc attachee a sa
ceinturc.

- Vous ne pouvez
pas savoir. lui dis-je
alors pour tachcr dc
changer la conversa-
tion, et ca m'est aussi
bien difficile a vous
dire dc quelle facon j'ai
pense a vous, souvent

- Mais si, dites.

— Non, je n'ose-
rais pas.

— Pourquoi? Qu'est-
cc que ca fait ?...

5. A double-spread from Le Petit Ami (38 x 56 cm.).

171

ces dames, je le sais. ou
alors, il y faut un remps!
»" W et avec nous. I amour est

ce qu il doit ctre. un plai-
sir sans fatigue, la satis-
faction d un besoin. la
paix du coeur! »
Aprcs cctte sortie, la conversation etait redevenue
legere.

Voici maintcnant M ' Lennie, a dire vrai jamais
contente et un peu lesbienne Je pense souvent au soir que

1

6. Double-spread from Le Petit Ami (38 ■ 65 cm.).

the Minaux who two years later was to paint his most ambitious
canvas La Noce (560 X 300 cm) which the critic George Besson
declares to be an important landmark, comparable to Courbet's
Enterrement a Onians in its defiance of fashion in painting, its scale.
'On this country Wedding, the painter has conferred the charac-
teristic gravity of people he knows, because more than any other
artist of his kind, he is the familiar of the earth, its smells, its
density.' That was apropos an exhibition (one-man) of i960, by
which time he had already been shown twice at the Adams
Gallery in London and had represented France at the Venice
Biennale of 1952.

The year i960 is one of paramount importance for any con-
sideration of his book-illustration for it saw the production of the
superb lithographs for Leautaud's Le Petit Ami, commissioned by
the Societe Normande des Amis du Livre, an edition of one
hundred and thirty-five copies, impeccably printed by the
famous establishment Fequet et Baudier and the lithographs
printed by the centenarian lithographers Mourlot Freres. The
poetic realism of this prose work, full of nostalgic overtones but
written in a less baroque style than Proust's Swanris Way, pro-
vides Minaux with ample scope for a sensual but neither prurient
nor erotic approach that is always tender but never sentimental.
He follows the author into the past with real insight. Note for
instance how, apropos the Comedic Francaise at the turn of the
century, he evokes the period with a portrayal that advisedly uses
a Toulouse-Lautrec lithographic technique of spattered dots and
lines, yet is still unmistakably Minaux (No. 4).

The female characters already referred to present a great variety
of treatment both in pose and ambience. One of the most charm-
ing is the girl carrying the breakfast tray (No. 7), actually a
double-spread though the vertical right-hand margin allows one

justifiably, I think, to reproduce one page. Yet when one looks
at the book these double-spreads (Nos. 5 & 6) create a feeling of
breadth in both senses of the word and most interesting patterns of
text and illustration — a continual surprise as one progresses, leafing
through the pages. Sometimes the text overlaps portions of the
illustration; in one double-spread early in the book, a still-life of a
table-top strewn with homely objects under a oil-lamp casting a
ring of light, the whole a telling design of circles and ellipses and
rectangles, there are but two lines of text on the upper part of the
left-hand page, but legible and effective against the grey back-
ground. But to return to the girl with the breakfast tray: she is,
as might be conjectured, 'line fille de joie' — but with a difference.
The author describes how she could not live without loving and
became as attached to her lover of the time as a little dog, and
when a lover of long standing left her to get married, she would
become so sentimental as to talk of nothing than throwing her-
self into the water. But that, he adds, did not go on long, 'car,
comme elle disait: "un dc perdu, dix de retrouves; mais, tout de
meme, elle souffrait bicn ". The reader of this article will note a
further touch of characterisation in the text on the plate repro-
duced. In this illustration as in all, particularly those concerned ^
with definite personages in the book, Minaux reveals how much
he is involved. And if one compares the portraits of the various
women — Fanny for example (No. 6) or Mademoiselle Lennie
(No. 7) this becomes immediately evident. There is no slavish
following of the text which he interprets broadly without ever
surrendering his identity or the unity of his work as a whole.
This unity runs through the many still-life or partly still-life
illustrations which are always related to a context. Not only do we
seize the rather serious vein in Fanny, transcending the purely
sensuous element in the Renoir-like form, but realize the touch of

172

7 & 8 Left. Single page from Le Petit Ami(3$ • 28 cm.). Right. An illustration for Marguerite Duras' 'Moderato Cantabile' portraying Anne Desbaresdes
is a lover, in a cafe against a background of palm leaves (38 28 cm.).

fastidiousness in the toilet-table set-out. The forms are both solid
and tender; this is the striking feature of the portrayal of Mile.
Lennie standing dreamily, yet 'bien plantee' as the French would
say, before her mirror.

I am reminded as I look at these moving illustrations with their
wonderful tonal contrasts and strong painterly qualities of a
saying of Mondrian 'Tout art devient decoratif lorsque la pro-
fondeur d'expression lui defaut'. It is just precisely that depth and
overtone of expression that seems to me to characterise the
graphic work of Andre Minaux — a gift for poetic recreation, the
indispensable requirement for an interpreter of the man who has
been called 'le Solitaire de Fontenay-aux-Roses', an author who
combined the sensuousness of Colette with the wit of Max Beer-
bohm, the ascetic who could write so delicately about aspects of
love. And so Le Petit Ami strikes me as a particularly felicitous
combination of author and artist.

I must confess I had doubts when Minaux told me that he was
undertaking the illustrations for that masterpiece of Marguerite
Duras Moderato Cantabile. This time it would be a question of
evoking atmosphere, of avoiding any attempt at characterisation
in a text that is purposely indeterminate and impressionistic,
almost devoid of incident. The reader is conscious of the feeling
of hot oppressiveness weighing down on the main protagonists —
the man at the bar and the woman of superior class from the
nearby hotel and her child. Minaux in his superb lithographs in
subdued tones of blue, pale buff and black, conveys the tense
atmosphere and drama of the story which moves between the
cafe-bar and the child's struggles with the music-piece that has to
be learned : the whole against the background of a murder that
has been committed. It is a book that has the subtlety of Virginia
Woolf 's Mrs. Dalloii'ay; a book in which the incidents have

nothing in common with those of detective novels. Instead they
are pretexts for a profound psychological study. My misgivings,
however, have been dispelled : Minaux has risen magnificently to
the challenge. It has involved a revolution in his style and a minor
one in technique. The depersonalised figure of mother and child
early in the book could not be more effective as an evoca-
tion ; the silhouetted forms create an immediate sense of appre-
hension, the blue-grey textures enhance the feeling of mystery.
The portrayals of Anne Desbaresdes as a lover (No. 8) and
in the cafe against a background ot palm-leaves have something
of the mask about them, stylised, enigmatic; the latter remind-
ing one vaguely of Gauguin's haunting Tahitians. The former, an
hors-texte, is an exquisite design, subtly conceived. The effective
'moire' is obtained by washes on the three separate stones involved,
for beige, grey and black respectively. One of the most telling
double-spreads shows the child squatting on the beach, facing the
sea. An interrogating silhouette, lonely, troubled with other
questions than that insistently asked by the music-mistress: 'Et
qu'est-ce que cela veut dire, moderato cantabile ?' . It is the eternal
child intuitively aware of a hateful, grown-up world from
which it can never quite escape.

The sea becomes a leitmotiv in The Old Man of the Sea of the
late Ernest Hemingway which Minaux has illustrated with colour
lithographs. Involving five or six colours of subdued tones they
lend themselves less effectively to reproduction, but from the
seagull with outspread wings to the wild mood of the sea and a
superb still-life of glasses and bottles in blues and sombre greens
they confront us with a further extension of the artist's emotional
and technical experience. We look forward to further manifesta-
tions of Andre Minaux's painterly lithographs for the Herve
Bazin masterpiece, Vipere an Poing.

173

Four masterpieces acquired by
Staatliche Museen, Berlin

1. Isis Enthroned with the Infant Horus. Coptic, 4th century, limestone.
Height 0.885 m. From Esh Sheik Abada, Autinoe, Central Egypt (publica-
tion is in preparation).

2. Jacopo della Querela. The Virgin Mary, from a group of the Annuncia-
tion. Between 1406 and 1410, walnut. Height 1.52 m. Berlin, bought with the
assistance of the Kaiser-Friedrich-Museums-Verein. (Vide Manfred Wundram,
'Die Sienesische Annunziata in Berlin: Ein Friihwerk des Jacopo della
Quercia', injahrbuch der Berliner Museen, vol. VI, 1964, pp. 38-52.)

174

3. Giovanni Bologna, Mars gradivus, 1584-87, bronze. Height 0.399 m. This statuette was a gift of the artist to the Elector Christian I of Saxony who in
return presented him with a chain made in 1587 by a Dresden goldsmith. From Dresden, Griines Gewblbe. (Vide Walter Holzhausen, 'Die Bronzen der
Kurfurstlich Sachsischen Kunstkammer zu Dresden', in Jahrbuch der Preuss. Kunstsammlungen, vol. XXIV, Berlin 1933, pp. 54ff.) 4. Bernardino Cametti,
Diana as Huntress, circa 1717-22, Marble. Height 1.90 m; height of the pedestal 0.685 rn. From Rome, Palazzo Orsini. (Vide Ursula Schlegel, 'Bernardino
Cametti', part II, in Jahrbuch der Berliner Museen, vol. V, 1963, pp. 151-63.)

175

Bonington re-visited

RONALD PICKVANCE

THE Wallace Collection's group of Boningtons still pro-
vides the best opportunity of capturing something of the
brilliance of the artist who died at the early age of twenty-five in
1828. With the rest of the bequest, however, they can never
leave Hertford House. Their absence, together with the examples
now owned by Mr. and Mrs. Paul Mellon, is about the only
negative observation one can make on the Bonington exhibition
recently arranged at the Castle Museum, Nottingham. Otherwise,
this was the most comprehensive exhibition ever staged of the
work of the locally-born artist.

The organiser, Dr. Marion Spencer (who appropriately wrote
her thesis on Bonington for the University of Nottingham), has
been indefatigable in her search for examples of his work. Private
owners and public galleries in Australia, Canada, United States,
France and Greece, as well as many collections in Great Britain,
have been approached. More than three hundred works by
Bonington — drawings, watercolours, paintings and prints —
were shown, with an additional section devoted to such con-
temporaries as Delacroix, Francia, Prout, Huet, Turner and
Shotter Boys. The well-documented catalogue will remain a
useful work of reference, including many hitherto unpublished
works among its fifty plates. At Nottingham, the exhibition was
admirably arranged, enabling one to follow Bonington's develop-
ment in that brief decade of activity.

The early pencil studies — snatches of coast, or a dismasted
vessel, or details from mediaeval buildings in Rouen and else-
where in Normandy — show an unmistakable talent, a touch that
is firm yet fluent. His figure-drawings are less plentiful. He must
have been much less happy drawing from the antique in the
atelier Gros, which he attended spasmodically between 1820 and
1822. But one drawing, the only female nude in the whole ex-
hibition, shows a greater sympathy: it is a study of Mile Rose
and is dated 30th April, 1820. In itself unusual, this drawing also
forms an intriguing document on the Dclacroix-Bonington
relationship. Delacroix's paintings of Mile Rose are generally
dated circa 1822, but this drawing suggests that Bonington at
least already knew her by 1820. It may also be, therefore, that he
had met Delacroix in this same year. Clearly, the friendship with
Delacroix was the most important artistic stimulant in his short
life (he also, in turn, stimulated Delacroix). The early water-
colours show how quickly he outshone his mediocre teacher,
Francia, and how superior they are to the Fieldings and Prout.
His coast scenes in oil, although composed in the studio, have a
command of atmosphere and at best a tonal control which fore-
shadows Corot and Boudin.

We know that Bonington and Delacroix were in London
together in the summer of 1825. Both drew from the Meyrick
Collection of armour; both visited Westminster Hall. In 1826
Bonington visited Italy; the experience of Venetian light and of
the Italian masters clearly affected the work of his remaining
years. Costume-pieces now became more plentiful. Like Dela-
croix, he could take his subjects from Sir Walter Scott but his
Qiicntifi Durward at Liege shows an incomplete realisation of the
inherent drama of the situation. Byron and Goethe he ignored.
Rather than the fire and the brio, the bloody confrontations so
beloved by Delacroix, Bonington chose quiet idylls a deux, fre-
quently staged on a balcony with a backcloth of column, curtain
and sky. Occasionally he would incorporate details from many

Bonington. Anne d'Autriche et Mazarin, oil, 134 ■ 10A inches (35 • 5 x 26 • 6
cm.). The Louvre.

of the pencil copies which he made after the Old Masters in the
Louvre (the sources of these copies are identified by Dr. Spencer
for the first time). He never hankered after large Romantic
pieces. He favoured interiors with snippets of French history, yet i
these small, gentle, nostalgic costume-pieces frequently contain
his most brilliant passages of colour. Even in his landscapes, an
air of calm stillness generally pervades the scene (the Waggon in a
Storm, No. 212, is a splendid exception). In short, he was a re-
strained Romantic.

A selection from the exhibition has been taken over by the
Arts Council for showings at Norwich Castle Museum and
currently, until July 17, at the Southampton Art Gallery. One
can return to the Wallace Collection with a heightened aware-
ness of Bonington's achievements.

176

Three portraits -at Sotheby's

IN a sale of English eighteenth- and nineteenth-century paint-
ings and drawings at Sotheby's on July 7, three works are
of outstanding interest. They arc sent for sale by Sir Arthur Bos-
well Eliott, Bt., the only direct line descendant of- |ames Boswcll
on the male side, and are here illustrated. Right, half-length
portrait of James Boswell, by Sir Joshua Reynolds, P.R.A.,
29J X 24 inches; right below, portrait by F. Cotes of Margaret
Montgomery, wife of James Boswcll, 29 X 24^ inches; and below,
portrait of Lord Aucliinleck by Alan Ramsay, 49^ x 39^ inches.

Reynolds' portrait of Boswell (there is another version in the
National Portrait Gallery) was painted in 1789 and was exhibited
at the Royal Academy (No. 113) in that year. It was painted in
pursuance of a bargain proposed by Boswell (7th June, 1 785) who
undertook to pay for it from his first fees at the English Bar. James
Boswell the elder (1 740-1 795), author and biographer of Dr.
Samuel Johnson, was a member of the closely knit circle which
included Johnson, the Thrales, Fanny Burney and Sir Joshua
Reynolds. It was at Reynolds' house in 1784 that Boswcll saw
Johnson for the last time, when he endeavoured to persuade him
to spend the winter in Italy.

On the reverse of the portrait of Margaret Montgomery are the
remains of an exhibition label bearing the date 1884, but no other
significant details. Margaret Montgomery married her cousin on
25th November, 1769. She did not accompany Johnson and
Boswell on their tours and commented that 'though she had seen
many a bear lead by a man she had never before seen a man lead
by a bear'. She died in 1788.

Alexander Boswell, Lord Auchinleck (1706-1782), the Scottish
judge, was for a time a Lord Justiciary. Dr. Johnson visited him in
November, 1773, and it was Auchinleck who invented the nick-
name Ursa Major for him. James was one of the three sons of his
first marriage.

Drawings by Joan Eardley, R.S.A.
(1921-1963)

A Scottish painter of exceptional humanity

DOUGLAS HALL

THE few of us who combine admiration for Joan Eardley's
work with affection or respect for the memory of herself,
have noted with depression the beginning of a certain market-
place cult and its accompanying critical reflex to take down a
peg. I am not one of the even smaller number who knew her well
or long, but I have had the opportunity to study the many hun-
dreds of drawings left at her death, from which these examples
are selected. They are not the kind of works commonly associa-
ted with her name, and may be a corrective to facile estimates of
her art.

All but one of these drawings were executed before her
thirtieth year. She continued to draw constantly throughout her
life, but her methods became less and less linear. The several
methods of linear drawing of the late forties, from small pen and
ink studies annotated with colour directions, to large brush or
chalk drawings in fast moving, nervous line, belong especially to
the travelling scholarship period and did not long survive her
return to Scotland. Line drawing appeared from time to time
during her whole life, notably in the moving studies of unkempt
children done in i960 (Memorial Exhibition, 44). But pen or
black chalk were soon largely superseded by pastel which became
her accustomed medium even in the quickest and tiniest sketches.
These later pastels are impossible to reproduce in black and white.
Joan Eardley was certainly aware of the picturesque possibilities
of her medium. In the well-known drawings of children done on
glasspaper, she hit on a novel method of extracting the most
saturated colour from the pastel, as well as setting herself a
stringent test of manual certitude. Some critics have professed to
detect sentimentality in these pastels. While that is a false de-
scription of Joan Eardley's attitude of mind at any time, it is true
that these popular works form a peripheral group in her work,
made after her real work of observing and recording Glasgow
children had for the time being, at least, been done.

The drawing of the Glasgow boy reproduced here (No. 5)
dating from about 1952, is the product of that observation at its
highest pitch. The image has a severity that precludes anything of
the picturesque; it has the towering quality, with a faint distor-
tion of scale and perspective, that sometimes belongs to drawings
which have come to close grips with their subject.

This is the latest drawing reproduced, and among the last of a
great series of large figure drawings. The genesis of these may be
in Joan Eardley's art school work, but their flowering is the one
important product of her travels abroad. The shy student was
wonderfully able to come to the heart of a foreign people, as the
drawing of an old Italian woman (No. 3) and the inscription on it,
conclusively show. This family of drawings can be fairly com-
pared to Van Gogh's Dutch drawings in their humanity.

There is even an echo of his style in a number of drawings done
during and after the travelling period, in which the line has a wiry
and descriptive strength unique in Joan Eardley's work (No. 2).
If not done abroad, these drawings belong mostly to visits to
Corrie in Arran, or to Lincolnshire, soon after her return.

In contrast to the human involvement found in these figure
drawings, the studies of French and Italian buildings are rather
perfunctory; landscapes less so but not as accomplished as the
figures. When her interest was aroused, the line of this period
falls effortlessly into place as if some (impossibly) inherited skill
was at work. The mules and oxen of Tuscany seem to have
charmed her: there is a whole series of precise drawings of oxen
with a water-cart (No. 4), done in fine black chalk on a nice grey
paper — unusual for her whose materials were often rudimentary.

The Lincolnshire drawings form a distinct group, centred
round farm implements and buildings and arable fields. They
are sometimes very large, often outrunning her powers as she
strove to assimilate some group of forms with a passion to
'possess' them in the drawing. Sometimes she achieved success, as
in the drawing of harness reproduced (No. 1), and these works
have a rare authority.

The development of Joan Eardley's powers as a painter is
another question, which should have attention at another time. I
hope these early drawings will convince anyone who on the
evidence of her late pastels may suspect sentimentality, of the
rugged authenticity of her foundations. Her death deprived not
only Scottish but European art of a painter of exceptional
grandeur and humanity.

1. A Horse-collar and other harness (ED. 992). Indian ink with colour chalk
on paper, 17 • 22 inches. Lincolnshire, 1948.

2. An old woman seated, sewing (ED. 266). Black chalk on paper, folded to
22J X 17^ inches. Probably Corrie, Isle of Arran.

3. An old Italian woman sewing (ED. 248). Black chalk on paper, X 19J
inches. 1948. Inscribed (not by the artist): Via delta Clusia Dormitorio
Publico N26 Galle Giusepino and with some only partly decipherable
Italian words. On the reverse is a drawing of a blanketed cab-horse.

4. Two oxen drawing a water-cart. (ED. 166). Black chalk on grey paper
6 X 8| inches (irregular), 1948.

5. A Glasgow Boy. (ED. 694), c. 1952. Black chalk with touches of white
on paper toned with watercolour, 29 X 18 inches.

(The numbers in brackets refer to an inventory of drawings in the estate
of the artist.)

178

V

Joaquin Sorolla
-a reappraisal

INSCRIBED upon his bath, so that he should be perpetually
reminded of it, the Emperor Tching Tang of the Chang
dynasty had the ideograms Make All Things New — Day by Day —
Make All Tilings New. This was no parrot cry of novelty for
novelty's sake, but a demand for continual reappraisal of attitudes,
of ideas, of the people who surrounded him. It is no less admirable
.1 precept now than then; and as valuable to critics, connoisseurs
and art historians as it was to the Emperor of Cathay, three
thousand seven hundred years ago.

In Britain, one of the subjects most in need of reappraisal is
Spanish painting after Goya. The opinion seems to be general
here that Goya was the last of the Old Masters of Spain. In effect
he was the first of the moderns, as was Delacroix in France and
Constable in England. Following Goya, and continuing well into
the twentieth century, were a host of excellent Spanish artists
who have been entirely overlooked in Britain. Of these, Joaquin
Sorolla of Bastida may be taken as a classic example.

Born in Valencia in 1863 (d. 1923), he was, until his 30th year
a backward-looking painter like Fortuny or Beruete. Thereafter,
he was at the summit of his powers, and executed those works
for which he is properly famous : portrayals of the fisherfolk of
Valencia and their children upon the seashore, under the dazzling
Mediterranean sun.

Surprisingly, the influence of French Impressionism on this
supreme pleinairist was negligible; although in terms of en-
couragement and recognition the value of France to Sorolla was
incalculable. At the Exposition Universelle of 1900, Sorolla was
awarded a Grand Prix for his painting Triste herencia. This
success caused him to show more extensively in France, culmin-
ating with a triumph at the Galerie Georges Petit in the summer
of 1906. In a universally good press, all the more astounding as
Sorolla's work was so completely Spanish in feeling, two articles
were especially notable: that of Henri Rochefort, entitled 'un
astre qui se leve' ; and that of Camille Mauclair, chief chronicler
of Impressionism, who wrote, inter alia, 'here is one who is not
aware that the practice of painting consists in anything other
than the continual production of masterpieces'.

Encouraged further by this fresh success, Sorolla was, in the
following year, given a travelling exhibition by the German
dealer Schulte. Too hastily organised and insufficiently advertised,
the German exhibition aroused little interest and was followed
(in 1908) by what could have been an even greater disaster for
the Spaniard. Determined that there should be no repetition of
the Berlin failure, his London dealers plastered the town with
posters advertising 'The World's Greatest Living Painter'. This
Barnum attitude received severe comment in the London
journals. Nevertheless, many English people who went to the
Grafton Galleries to scoff, stayed to praise. So did the American
millionaire Archer Huntington, who there bought the portrait of
the El Greco expert, Manuel de Cossio, and founded the Ameri-
can fortune of Joaquin Sorolla.

Huntington's patronage, the ready appreciation of Sorolla's
painting in both North and South America — 'Not Turner, not

Above. Drawing in the sand.
Canvas (1903). In the collec-
tions at the Milwaukee Art
Center.

Left. Portrait of Manuel B.
Cossio. Canvas (1908). In the
collection of Donna Natalia
Cossio de Jimenez, Paris.

Monet', wrote the American critic James Huneker, 'painted so
directly blinding shafts of sunlight as has this Spaniard' — and his
appointment as Court Painter of Spain kept Sorolla away from
Britain for the rest of his life. In consequence, no public gallery in
Britain has a Sorolla. And he is presently known in Britain only
to a handful of connoisseurs, collectors and Hispanophiles.

The current Exhibition at Broadway Art Gallery, Worcester-
shire, the first of importance in England since 1908, borrows
pictures from French, Italian, Spanish and American public
collections, as well as from many private sources including that
of the artist's grandson Pons Sorolla. Inevitably a loan exhibition
of this kind is limited by the gallery's resources and physical
space. But what it lacks in quantity and size is compensated tor
by the quality of the thirty exhibits. These have been chosen to
display all aspects of Sorolla's genius — the portraitist, the land-
scapist, the painter of the sea, the sun, the sand, and the people of
Valencia. Yet this modest show is sufficiently splendid to begin
the task of re-establishment in Britain (Sorolla needs none else-
where) of a master of whom Mauclair wrote: 'He is so gifted
that he can create in a few minutes, and as though he were
playing a game, something which would take many other paint-
ers a year, and some even a lifetime, of hard work and effort.' —
Max Wykes-Joyce.

183

Contributed by Adrian Bury

Clementine Ballot

ALTHOUGH the work of Clementine
.Ballot is well known and much admired in
France 1 am not aware that it has been shown to
any extent, if at all, in this country. The exhibi-
tion opening at the new premises of the Madden
Galleries (77 Duke Street, Grosvenor Square
W.i) is therefore an important event in the art
world. Clementine Ballot (1879-1964) is in the
best Impressionist tradition. In her youth she was
influenced by such masters as Monet and Sisley,
but she also studied the works of Corot, Chardin
and Van Dyck.

Clementine Ballot exhibited widely in France
and was a member of many Societies. She held
regular 'one-man' shows, the last being at the
Galerie des Orfevres, Paris in 1963. Between 19 12
and i960 sixteen pictures by her were bought for
the State, and several by the Ville de Paris, and
she is represented in most of the French pro-
vincial museums. Many prizes were awarded in
recognition of her exceptional talent and she
won the Legion d'Honneur in 1938.

The Madden Galleries' exhibition consists
mainly of landscapes of the neighbourhood of
Crosant and the River Creuse in Central France,
about 150 miles south of Paris; and all were
painted during the years 1911/18. That the
artist had an original and passionate sense of
colour is obvious from such works as Autumn:
Crosant, the River Creuse, and Ruins of a Chateau,
in strong sunlight and shadow. It was during this
period that Mme. Ballot met the celebrated
French Impressionist, Armand Guillaumin, and
although this artist was an old man at the time
they went painting together and exchanged ideas
on art. Several works dating from this period are
now in the Petit Palais and Museum of Modern
Art, Paris. Some charcoal studies for paintings
also appear in this exhibition and prove the
artist's strong style in this medium.

Light on Pieter de Hooch

ONE of the most important paintings by Pieter
de Hooch to come on the market in recent years
is the well known interior, reproduced in W. R.
Valentiner's Klassiker der Kunst on this master,
entitled Dissolute Company. It shows two cavaliers
and two ladies in a typical Dutch room with
tiled floor, the lighting coming from the win-
dow on the left, balanced by light coming
through an open door on the right. The dark
background, with a picture of Venus and Cupid
hanging over the mantelpiece, is subtly con-
trasted with the luminosity of the woman's
costume as she sits on a bench in the foreground.
This picture was for many years in the cele-
brated Robinson Collection and last seen in
public when exhibited at the Royal Academy in
1958. At that time, and for who knows how
many years previously, it was not wholly by
Pieter de Hooch for the position of the hands had
been altered by some anonymous artist-
restorer.

Top A photograph of Armand Guillaumin acting as porter to Clementine Ballot, a selection of
whose works is on show at the Madden Galleries. Above. Pieter de Hooch. An intenor Wtth gay con,
pany. 25 X 3l£ in. Hallsborough Gallery.

184

Above left. Utile de Faenza. Judgement of Paris. Panel i8| x l6f in. Witdenstein Gallery. Above right. Melchior d'Hondecoetcr. Cock and chickens in a land-
scape. 34| ■ 43 in. signed and dated 166(4). Cramer Gallery.

When the picture was being cleaned recently,
the restorer who was doing this work was con-
cerned to find these changes fading out and tele-
phoned the Hallsborough Galleries (143 New-
Bond Street, W.i) who now own it to ask if
they wished him to continue. 'Something is
happening", he said. 'You had better come and
sec.' On consideration it was clear that the
'accretions' were disappearing and the original
design was emerging and is now revealed as De
Hooch painted it.

An Interior with Gay Company, as it is now
more respectfully called, is recorded also by C.
Hofstede de Groot, Catalogue Raisonne, Vol. I,
1908, No. 184, and C. Briere-Misme, Gazette
des Beaux Arts, 1927, n. p. 278.

Judgements of Paris

THE splendid collection of Florentine and Sienese
paintings exhibited last March at the Wilden-
stein Galleries contained an anonymous picture,
The Judgement o f Paris, with undraped feminine
figures. It was reproduced in colour in The Con-
noisseur for April. Berenson described it as from
the studio of Domenico Veneziano. Van Marie
stated that it was by a follower of Angelico, and
Schubring as by the Master of the Legend of
Paris. All we know for certain is that the picture
was done in the last quarter of the fifteenth-
century, was originally part of a wedding-chest
and is among the earliest Italian paintings of
classical mythology. It was on loan to the
Wildenstein Galleries from the Glasgow Burrell
Collection.

Remarkable as showing the interchange of
classical themes among artists working at the
time is a Judgement of Paris by Giovanni Battista
Utile de Faenza, the Florentine painter active
until 151 5. The former work has a background
of trees and rocks, the Faenza a mountainous
coast scene, and the three feminine figures in this
case are draped somewhat in the manner of
Botticelli, but the poses are almost identical. Both
works have much in common stylistically. The
Faenza which belongs to Messrs. Wildenstein
(147 New Bond Street, W.i) but was not in-

cluded in the Art of Painting in Florence and Siena
Exhibition, has been reproduced several times,
notably in Paintings by Italian Masters hi Possession
of William Harrison Woodward, Oxford, by W. G.
Constable, 1928, and catalogued in various
books on Italian painters of the Renaissance by
Berenson from 1909 to 1936.

Bird Watchers

WHAT makes an artist concentrate on one sub-
ject almost to the exclusion of all others is a
problem for the psychologist rather than the art
expert. For instance, take Melchior de Honde-
coeter (1636-1695) who spent his life successfully
enough painting cocks and hens and poultry
generally. Few artists have done them so well,
but here I would mention our own Joseph Craw-
hall whose birds, particularly The Black Cock
and The White Drake, are 'masterpieces that
challenge the Dutch artist on his own ground.

A fine Hondecoeter, Cock and Chickens in a
Landscape appears in the Cramer Galleries (38
Javastraat, The Hague, Holland) with important
works by other Dutch and Italian painters and
some Italian and Flemish bronzes of classical
subjects.

Louise Rayner

IN looking for unknown English watercolour-
ists, especially since the great names in this
branch of art have become symbols of exalted
finance, there is one all but obscure called
Louise Rayner. I cannot recall having seen more
than a handful over many years but all have
struck me as being exceptionally good, topo-
graphically, technically and as regards figure
interest. There is one at the Parker Gallery (2
Albemarle Street, W.i) of Leicester Hospital,
Warwick, signed and dated 1880, not a particu-
larly inspired period for watercolour painting.
Louise Rayner's style is no less assured than
William Callow's with whom she has something
in common, and judging by the titles of the 31
works that she exhibited at the Royal Academy
between 1852 and 1893 — Lincoln and Canterbury
Cathedrals, the Butter Market, Winchester and the

Shambles, York she probably specialised on such
architectural subjects. In the Victoria and Albert
Museum there is a watercolour by her of
Lincoln Cathedral, and she is described in the
catalogue as a daughter of Samuel Rayner, a
member of the 'Old Society'.

Even More Obscure

WITH the late lamented general election not far
removed in time, it is amusing to study a picture
of the Preston by-election of 1 862, showing a
large, hilarious and bibulous crowd celebrating
the victory of the Conservative candidate, Sir
T. G. Hesketh, over his Liberal opponent, Mr.
Melly. It is possible that the artist was inspired
by Eatanswill for the Dickensian sentiment is
remarkable and a very Pickwickian figure is on
the box of the coach in the middle distance. This
painting (36 X 46 J in.) is the work of a most
accomplished artist, expressing great skill in the
organisation and characterisation of the large
crowd of figures. In spite of much research and
enquiries in the Press nothing whatever has
come to light regarding W. P. Sherwood. Who
was he and what other pictures did he paint?

English Masters

THERE is a truth of natural effect about the
watercolours by E. M. Wimperis (183 5-1 900)
that entitles him to a high place in the School,
but his oil paintings are equally impressive, and
one at the Bury Art Galleries (21 King Street,
S.W.i) would hold its place with landscapes by
greater names, English or French.

That perennial subject, the Rialto Bridge,
I'cnice, is recorded in a meticulous watercolour
by E. Pritchett, prominent during the first half
of the nineteenth century for his views of Venice;
but the Watering Place and Windsor Castle by
Peter de Wint are masterpieces in little. Seldom
have I seen a sketch by this artist that pleased me
more than this latter one, the castle exquisitely
suggested on the horizon, and framed by the
well composed trees in the foreground. There
are also some works by David Cox and John Sell
Cotman.

185

Carel Weight. Death of Lucretia. 32A X 33^ in. Zwemmer Gallery.

Art in the modern

manner

ALASTAIR GORDON

IN every country that has a vigorous taste for
that mirror of its own times that is (inaccur-
ately) called avant-garde art, there is always a
counter-voice of artists who are contemporary
in traditional styles. They are a minority whose
art is every bit as valid to their times as the
searchers after new forms, but they are eschewed
by modern publicity as not being popularly un-
popular. They are also identified by the uncritical
with the many painters who pathetically defy
their own age by practising a pastiche of former
ages.

Carel Weight is no moralising illustrator of
back-street life ; he is an artist of the drama of life.
His dramas are timeless, and it is just his prefer-

ence that he uses the back streets of London in
which to set them. A realist? A surrealist?
Romantic expressionist? Somehow he eludes all
the labels. He stands on his own, Professor of the
Royal College of Art from whence he directs
the enfants terriblcs of contemporary British art
explorations. He is highly conscious of his times;
aloof from the experimental nature of his pro-
teges he is one of the figurative artists of real
quality who exhibit at the Zwemmer Gallery.
Others are John Bratby (brilliant in accom-
plishment, uneven emotionally), Harold Chees-
man, Edward Bawden, Anthony Gross, Julian
Trevelyan. They are all artists much more
worthwhile than fashion allows them to be.

Exhibiting this month at the Zwemmer is
David Boyd (brother of Arthur, who is also with
this gallery) whose praises I sang two years ago
in this column. His powerful sense of form has
gained further from experience and can stand on
its own merits, but such structures as he builds
with the human image would be static tmless
motivated by an unerring ability to mould
colour and form into a unity that is excellently
expressive of mood.

The Grabowski Gallery were about the
first to show Pop art in London, and also Op —
or optical — art. They can thus be counted one
of the few galleries that do not take up a new
idea from others, but actually give it its first
showing. This is sufficient illustration of Mr.
Grabowski's perceptiveness, but possibly his
greatest contribution is in providing an outlet
for those brave fellow countrymen of his, who,
though isolated in Communist Poland from
empirical contact with the living pulse of inter-
national art, still manage to work in the stem
uncompromising virtues of abstraction first
postulated by Malevich.

Zielinski is no haphazard constructor of
metallic shapes. He works small but exactingly,
so that he achieves a diamond-hard strength
through very carefully considered formal design
enriched by subtle coloured patinas. The dedi-
cated modern Polish artist must of compulsion
retreat from the real world of nature in which he
lives and relish pure thought through intellectual
means. His alternative is the official art of tractors
and workers. But no Pole that ever lived was

Kenneth Martin. Oscillation. Phosphor bronze

6h X 3i X 2J in. 1962. Lord's Gallery.

1 86

without passion, and it is this that saves them
from any trace of non-revolutionary aridity.

Taking its name from the adjoining head-
quarters of cricket, the Lord's Gallery has the
charming distinction of being both a private
house and an art gallery at the same time. Mr.
Granville is a long way from the centre of tilings
physically, but is very much at the spiritual
heart of the art world. He is the champion of
Kurt Schwittcrs, has always shown the work of
that strange and solitary artist, and still has the
hrgest stock of his work.

The gallery is happily diverse in taste, for next
month it will be showing several hundred water-
colours and oils by Henry Simpson, who died in
192 1 and last exhibited at the Leicester Galleries
m 1910. I confess to never having heard of him,
but he is a rewarding discovery. All the works
are very small, but they glow and sparkle with
atmosphere. In the great tradition of English
landscape, Simpson was unusual in that his
metier was the warm and brilliant light of the
Mediterranean and Middle East. In postcard
size he captured the grandeur and radiance of
Venice as Constable would have done had he
gone there.

Other than these two, the gallery has always
been the home of the beautiful mathematical
conceptions of Kenneth and Mary Martin, the
strange metaphysical paintings of the German
Meckscper, and the quiet classicism of John
Armstrong. Perhaps most interesting of all,
certainly to the social historian, is the huge
number of posters, mostly by Cheret, Mucha
and their nineteenth-century followers. These
posters have long since ceased to advertise —
indeed their decorative value perhaps always did
exceed their selling value.

Too many of the new experiments in con-
temporary art are sensational ephemera with no
staying power, because they lack any valid or
organised thought. The McRoberts and
Tunnard Gallery are only interested in those
who grip firmly onto the central metaphysical
ideas that are essential to all good non-represen-
tational arts. Their great discovery is the Zero
Group of Mack, Piene, and Uccker, who
through this gallery, were re-introduced to their
home country — Germany. This was a good
illustration that London is the centre of the
modern art world. The Italian Fontana was first
shown here in London, and earlier this year there
was an exhibition of the optical paintings of
Peter Sedgley, an astoundingly clever practi-
tioner of this new and exhilarating examination
of how much the human eye can stand in
receiving images that unbalance conventional
vision. I found his work so dazzling that I also
found myself wondering how the artist himself
avoided bemusing his own eyesight in the act of
execution.

Generally speaking, the gallery's main line is in
sculptors, constructors and painters who are
clearly conscious that the kind of abstract beauty
seen in the mind, must, at its best, be reduced to
the utmost simplicity; there must be no ex-
traneous detail to distract from the core of the
image, and this core must have an unarguable
accuracy.

The gallery is by no means committed to such

Krystyn Zielinski. M-21-64. 19 X 14 in. Grabowski
Gallery.

Jack Simcock. White House and Woman. 30 X 42 in.
J Piccadilly Gallery.

'difficult' artists since they are the London
exhibitors of that juicy Italian expressionist
Guttuso, and frequently have excellent paintings
and sculptures by the French Impressionists.

The Piccadilly Gallery in Cork Street has
been quietly building up a name in its twelve
years of existence for a catholic taste in modern
humanist art. There can never be a profitable
discussion as to whether figurative art will
supersede and again re-assert itself over the
present preponderance of non-figurative art.
The last few decades have proved that both arc
valid and that both must do more than co-exist.
They are vitally dependent on each other for a
clear understanding by the human spirit of what
art can fulfd for mankind. Oidy fashion will shift
the emphasis one way or the other, and this
gallery is not going to do any other than show
what its proprietor would like to have for him-
self, for he believes that fashion is only a surface
phenomenon.

No other special pleading is done for the

artists other than to exhibit them — many of
them. No painter is shown here who is not
highly selective in content, and all have a
common denominator of revealing the human
situation, be it in figures or landscapes or both.

Over the last few months there have been
seen at the Piccadilly young artists whose
thematic scale is domestic, but whose appeal is
universal: these are Lewin Bassingthwaighte,
who conjures up the impressions of a child in an
interior that is seen with all the intensity and
stillness of a child's psyche. Like Jack Simcock
(illustrated here) there is a kind of innocence
which is not naivete, because it is not the work of
the parochially minded, but of universal com-
passion.

The Galleries: Zwemmcr Gallery, 26 Litchfield
Street, London IV.C.2; Grabowski, 84 Sloane
Avenue, S.W.j; Lord's Gallery, 26 Wellington
Road, N. W.8; McRoberts and Tunnard, 34 Curzon
Street, IV. 1; Piccadilly, 16a Cork Street, IV. 1.

187

I. Oscar Niemeyer, Palace of the Alvorada — the President's residence, Brazilia.

Paris Dispatch

FROM GERALD SCHURR

Promise Fulfilled

IT was the idea of comparing two different
periods of a painter's work which led Andre
Schocller to exhibit twelve canvases by 'Six
grands peintrcs contcmporains dc la tradition
francais' at 31 rue de Miromesnil until July 31st.
Each artist is represented by a youthful and pro-
mising work, hung beside its fulfilment — one of
his most recent canvases. So Andre Masson's
'Sable' is next to a canvas of 1965, and 'Otagc by
Fautrier near one of his latest informal works.
Lapique in 1942 already seemed preoccupied
with problems of colour, and a striking answer
to these can be found in his large composition of
1965. Dubuffct's 'Macadam' of 1945 anticipates
the abstraction which he achieved twenty years

later. Yves Klein is represented too, and finally
Tal-Coat who as early as 1937 had the astonish-
ing forcefulness which in 1965 culminates in a
controlled severity.

Niemeyer at the Musee des Arts
Decoratifs

UNTIL October 1 the vast lobby of the museum
is taken up with models and photographs of the
works of fifty-eight year old Oscar Niemeyer,
one of the most productive and original archi-
tects of our time.

The exhibition starts with his early works,
showing his collaboration with Le Corbusier for
the Ministry of Education and Culture at Rio de
Janeiro; then Brazilia, which was to establish

Niemeyer as an architect, and finally his present

work, especially the projects being carried out in

Israel. A few short films and numerous stills

complete this attractive, vital exhibition.

After studying at the Fine Arts in Rio dc
... 1
Janeiro, his birthplace, Niemeyer soon became '

the leader of the very dynamic architectural
movement in Brazil. At a time when stress is on
function he docs not hesitate to give precedence
to expressive values, for harmony and elegance
are as essential to him as technical obedience. He
manipulates with success the baroque curve,
integrating it boldly with rectangular planes in
the main buildings in Pampulla which he built
in 1943. His interplay of volumes, curves and
straight lines and careful placing of his build-
ings are always logical and perfectly adapted

188

to the natural site. He makes use of all the
resources and plasticity of concrete, wielding it
in arabesques and curved surfaces; a refinement
winch is perfectly illustrated by the immense
Palace of Exhibitions in Sao Paulo (1951-1954).
I lis unbridled inventiveness blossoms in Brazilia
where he has been allotted the task of putting up
all the relevant constructions for the public
sector; a gigantic undertaking embarked on in
1956 and almost completed in 1961. Until now
his only European work has been in Berlin,
where a large block of Hats in the Hansa quarter
was inaugurated in 1957.

Chavignier's Sculptures and Drawings

DANIEL CJERVIS is showing an exhibition of
work by Louis Chavignier at the Galerie Beno
d'Incelli, 43 rue de Miromesnil until July 7. At
forty-three the sculptor is evidently still haunted
by the mysterious outlines and jagged shapes
of his childhood surroundings 111 Hautc-
Auvergne — 'a plateau fringed with savage
valleys, overrun with dark woods', he says ,' where
1 was often very frightened. Heavy with sadness
and mystery, I know few places where one thinks
of death so much'. Chavignier has never manag-
ed to free himself from the grip ot the fantastic —
Ins bronzes still have something pantheistic
about them, although his obsessions are often
combined with a dramatic irony. There arc
about twenty drawings in the exhibition, show-
ing an elegant, swift and spontaneous hand, he
captures a form superbly with a single line.
Unlike many sculptor's rough sketches they arc
not preparatory drawings but an end in them-
selves.

The Strange World of Philippe Lejeune

THIS artist introduces us to a silent world of his
own, a world of verticals, which is surprisingly
flat despite the complicated masses and depths.
The Galerie des Arts at 9 rue du Bac. is showing,
until July 10, forty of these disturbing composi-
tions, where man is lost in a dull subtly-
coloured natural background, with the occasion-
al nervously indicated contrast. These fantastic
visions have a great tenderness, and in their
dreamlike harmony verge on Surrealism without
any academic involvement.

Within the confines of the
Delft Antique Fair

PROFITING from the crowd of art lovers
attracted to the Prinsenhof by the Antique Fair
(until July 14) the Cramer Gallery from the
Hague is exhibiting in some of the Museum
rooms a selection of old master paintings. Most
of them are from the Dutch 'siecle d'or': Honde-
coeter, Peter Claesz, Jan Steen, Ruysdael, Van
Goyen. There are some Flemish canvases, in
particular Hieronimus Bosch, and some rare
sixteenth-century Italian bronzes.

Harlow Arts Festival

FROM July 9-24, the Harlow Art Society is
presenting an exhibition of works by Holbein
lent by the Arts Council of Great Britain, and
also exhibiting the work of a group which was
seen in Paris during May. 'Imago' is the name

3. Philippe Lejeune, Le Macon, 1964, Galerie des
Arts, Paris.

2. Louis Chavignier, Le Carnaval, bronze,
Musee National d'Art Moderne, Paris.

which unites under the same banner such artists
as Andre Verlon, Lipkowitch and Martin
Boileau.

To be seen in July:

Munich, Haus der Kunst: Salon des Arts (until
October 3).

Aix-la-Chapelle: Charlemagne, work and in-
fluence (until September 19).
Hanover, Kunstverein : Scandinavian painting
(until August 1).

4. The Master of the Forties, Portrait of a Man,
1541, 15-J X 13! inches. Shown by the Cramer
Gallery at the Delft Antique Fair.

189

The Connoisseur's Diary

Dock for the protection of East India Company Ships :
The Mellon Foundation

UNDER the auspices of the Paul Mellon
Foundation for British Art (38 Bury
Street, London, S.W.i), Mr. Richard Kingzett
and Mr. Kenneth Sharpe are preparing a volume
devoted to Samuel Scott (c. 1 702-1 772), the
painter of marine, topographical and landscape
subjects. They would be grateful to receive at
the above address any information concerning
the artist and his work, particularly in relation to
the location of drawings, paintings and docu-
ments which have not yet been traced and
which may be in private hands.

Aubrey Beardsley

AN interesting exhibition is in course of plann-
ing and is to be held in 1966 at the Victoria and
Albert Museum. It will be devoted to the work
of Aubrey Beardsley and it is hoped to make it
the first representative exhibition of the work of
this artist. Owners of original drawings or
letters, or relics associated with Beardsley, will-
ing to lend such material to the exhibition are
asked to write to: Mr. Brian Reade, Depart-
ment of Prints and Drawings, Victoria and
Albert Museum, London, S.W.7.

Phoenix lends its art

MASTERWORDS from the Phoenix Art
Museum's collection of eighteenth, nineteenth
and twentieth century French collections are
now on loan to the El Paso Museum of Art until
the end of August. A copiously illustrated
catalogue has been prepared for this important
loan exhibition.

Phoenix Art Museum's collection of American
Art will be loaned to the Museum of Northern
Arizona, Flagstaff, Arizona during the month of
August and to the Tucson Art Museum for the
whole of September.

Cover: Lady Hamilton

MADAME VIGEE-LE BRUN, Marie-
Antoinette's friend and favourite painter,
portrayed more of the grandes dames of her period
than any other artist. The picture shown on our
cover belongs to the second phase of a fascinat-
ing career which is well described in the lady's
own Souvenirs. In 1789, at the outbreak of the
Revolution, and (quite rightly) believing herself
a suspect because of her connection with the
Queen, Vigee-Le Brun left France for Italy, at
the beginning of what was to prove a long
period of exile. It was during this time that the
beautiful Emma, later Nelson's Lady Hamilton,
posed for her both as Bacchante and Sibyl. The
present canvas, which portrays Lady Hamilton
as the Persian Sibyl, was executed in Rome in
1792 and became one of the artist's favourite
paintings. She used to take it about Europe,
rolled up in transit, unfurling it whenever the
occasion arose to show it to connoisseurs and
possible patrons as a specimen of her powers.
She refused to part with it, and it was only at a
much later date that she gave it to the Duchesse
de Berry, at whose sale in 1865 it was acquired
by the Pourtales family.

One of the fascinations of the picture is the
comparison which it prompts with the work of

1

George Romney, who at an even earlier period
had been obsessed with Emma's beauty, and who
painted her over and over again in mythological
guises such as this. Lady Hamilton's 'attitudes'
were, from the beginning, a part of her stock-in-
trade, and it is evident that Vigee-Le Brun is
here dealing with a far more histrionic person-
ality than those she usually encountered. The
picture carries a romantic overtone which is
rare in her work, and which for a moment
brings her surprisingly close to Romney despite
the far looser technique employed by the
Englishman. But the real inspiration behind the
picture is the celebrated 'Sibyl' of Guido Reni.
The result, as well as being a beautiful and un-
expected portrait of a famous sitter, is an import-
ant document in the history of taste.

Diary dates: two Fairs

SEVENTEENTH Delft Antique Dealers' Fair
is now in progress at the Prinsenhof-Museum
until July 14.

Fourth Florence Antique Dealers' Fair, ex-
hibits from which will be featured in the Sep-
tember number of The Connoisseur, will be held
at Palazzo Strozzi from September 18 to October
18. All stand accommodation has now been
sold - to dealers from Paris, London, Brussels,
Amsterdam, Zurich, New York and to many
Italian Dealers.

For Sale not on Loan

A MISTAKEN notion appears to have arisen
amongst collectors over the fine paintings in the
exhibition 'From Butinone to Chagall' (until
July 23) at the Hallsborough Gallery, 143 New
Bond Street, London, W.i. This is not a loan
exhibition. All works are for sale.

Brunswick Dock on the Thames at Blackwell, a
coloured aquatint drawn and engraved by j
William Daniel) one of eight by the same
artist shown in a small exhibition presented by
The Port of London Authority. Published in
1803, this print is dedicated to John Perry who
designed and built the dock at his own expense
'for the accommodation and protection of the
Ships of the Honorable the East India Company',
principally from the attentions of river pirates.
There are no warehouses, the cargo being
unloaded into lighters and taken under convoy
up the river. The tall building in the centre was
the Mast House used - otherwise a difficult
operation - for the stepping of new spars.

The Art Market

IF the high prices obtained in the art market
are any guide, we would seem to be living in
another bronze age.

Antiquities. A bronze foundation figure from
the city o(Lagash (Tello), dated about 2125 B.C.,
and representing a bearded deity, serene and
detached, on one knee supporting a foundation
post, sold for £4,600 (height 7} in., Sotheby's).
A fine Roman marble portrait bust of a man
shown with the worried look of someone who
has just received his tax demand, was bought
by Berlin State Museum for £2,900 (height
21 in., Trajanic period, c. A.D. 100, Sotheby's).
From Assyria, a limestone relief showing two
female captives and a boy escorted by an archer,
£4,000 (14 X 18 in., early 7th century B.C.,
Kuyunjik, Sotheby's). Another relief, this time
from Attica and of marble, commemorated with
a Greek inscription 'Onatorides, the Boeotian',
and showed him full length with a dog jumping
up towards a bird held in his right hand, £1,100
(38} X 16 in., c. 400 B.C., Sotheby's). A slim
woman with school-girl plaits, in the form of a
Semitic bronze nude 8 in. high, £1,102 (about
1500 B.C., Christie's).

The National Gallery of Victoria paid £3,000
for a Sassanian silver ewer, partially gilt, with a
pear-shaped body, a straight flanged spout, and a
flaring foot. The body was worked in relief
with four female dancing figures which the
cataloguer suggested were all meant to repre-
sent the Goddess Anahita with various attributes
(height 11J in., Iran, 6th/7th century A.D.,
Sotheby's). Also from Persia, and sold for the
sime price, came another piece of silver, much
earlier in date (6th-5th century B.C.) this
Achaemetiid phiale (shallow bowl) had a repousse
decoration representing lotus stamens and seeds
in a rosette design (diameter 12 in., found at
Mazanderan, Sotheby's). At Parke-Bemet in
New York, a stag rhyton from Amlesh with
four-pointed antlers and a quizzical expression,
$2,300 (height io| in.).

Examples of spectacular treasure from ancient
Egypt are not very often to be found in the sale-
rooms, and in their absence the market favours
bronze animals. A fine falcon made to contain
the mummy of a bird sold for £1,400 (8£ in.
long, about XXXth Dynasty, Sotheby's).
Another bronze (of the Saite Period, 664-525
B.C.) only a fragment: the head of a cat, was
considered worth £1,000 (height 4J in.,
Sotheby's). From Coptic times, one of the most
interesting items was a small pale green faience
jar. It had a globular body, two handles and a
conical cover, and was sparsely decorated with
small black glazed 'marbles', £800 (height
6f in., c. 5th century A.D., Sotheby's). A
beautiful gold pectoral scarab with outstretched
wings filled with coloured enamels, £1,000
(overall 5J in., 5th-3rd century B.C., Sotheby's).
From Upper Egypt, a tiny amuletic frog carved
from black and white marble, £520 (length
i£ in., 1st or 2nd Dynasty, Sotheby's).

Non-European Art. The influence of Primitive
Art upon twentieth-century painting and sculp-
ture is well known, and competition is keen
when prime examples appear in the salerooms.
For example, the magnificent bronzes from
Benin (West Africa) arc in great demand; a male
head of the type used for royal ancestor altars
sold for £4,300. It was 12 inches high, and had
a tall collar representing 25 rings of beads, also a
reticulated cap with long pendants (Sotheby's).
Also from Benin came an ivory leopard mask
with the spots indicated by bronze studs, £3,500
(7 X 3I in., slightly damaged, Sotheby's). A
Balega ivory carving from the north west Congo
fashioned as two stylised human figures back to
back, and joined only at the head, £1,100
(height $i in., Sotheby's).

As for Pre-Columbian art, a Chimu gold
funerary mask from Peru which still retained
patches of red decoration, $4,750 (width 16 in.,
Parke-Bernet). A Chimu silver beaker repre-
senting a man (half length) with a shell held
between his finger tips, $1,500 (height 10J in.,
Parke-Bernet). A miniature masterpiece from
Columbia in the form of a Quimbaya gold
figure : a squatting female with a head-dress set
with spiral ornaments, and a flask in each of her
outstretched hands, £1,500 (height 2f in., 1 oz.
16 dwt., A.D. 1000-1500, Sotheby's). A some-
what macabre head from the Solomon Islands
modelled over a skull, inlaid with mother-of-
pearl and with hair attached, £250 (6 in.,
Sotheby's). A large Maori jade heitiki, as a
stylised man with eyes inlaid with haliotis shell.
£350 (6 in., Sotheby's).

Oriental art. The last known bronze bell from
the Wei Hui chime that remained in private
hands was sold at Sotheby's to a dealer acting for
the British Museum, £28,000 (see page 195).
This magnificent object was from the late Chou
Dynasty whereas the golden age of ancient
Chinese bronzes is considered to be a thousand
years earlier in the Shang Dynasty. A beaker (ku)
from this latter period, superbly cast and 12 J
inches high, £3,600 (Sotheby's). Also from the
Shang period was a rare carving of a bird
(originally a handle) whose channelled decor-
ation was reminiscent of designs on contem-
poraneous bronzes and had once been inlaid
with turquoise, £ 1 ,600 (height 4* in., Sotheby's).
Two thousand years nearer our own time (from
the Tang Dynasty) was a gilt-bronze wine cup;
this was from a set of miniature tomb vessels
and was engraved with scrolling floral designs
and birds in flight. The cup had a short knopped
stem and a circular foot and altogether showed
the influence of designs imported from Sassanian
Persia, £1,350 (height 3 in., Sotheby's).

Fine dinner services of the Ch'ien Lung period
seem to be much in demand. A typical and
charming example was a Famille Rose armorial
service decorated in colours and gilt with floral
swags and sprigs, £3,360 (146 pieces, Christie's).
An early Ming blue and white potiche painted

with two buddhist lions, ju-i shaped panels and
lotus petal foot, £3,400 (7J in., mark of Hsiian
Te, Sotheby's). Of the same date, a cinnabar
lacquer dish carved with a lakeside scene border-
ed with panels of lotus, peony, etc., £1,900
(diameter 13 J in., Sotheby's). A pair of K'ang
Hsi figures in famille-verte of Louis XIV and
Mine de Maintenon, £1,800 (heights 10J and
8 in., Sotheby's).

From Japan, an early Arita jar with an ovoid
body enamelled in brilliant Kakiemon colours
with birds and flowers in three panels, £750
(9J in., late 17th century, Sotheby's). A colour
print by Kiyomasu of the poet Teika on horse-
back set in a composition as complicated as any
rococo design, £2,000 (22! X nf in., Sothe-
by's). A characterful portrait by Toshusai
Sharaku of the actor Arashi Ryuzo, £1,000
(12$ x 6 in., signed, Sotheby's). A print by
Kitagawa Utamaro of a rare beauty, Yasooi of
Matsuba-ya seated reading a scroll, £650
(signed, Sotheby's). Hana-saka jiji, a delightful
old man seated holding a basket and pointing to
blossoming trees, appeared in a painting by
Hokusai, £450 (paper 50 X 22£ in., Sotheby's).

Jade : a spinach-green brush holder carved and
undercut with a pavilion and three sages in a
mountainous landscape, £4,000 (height 6£ in.,
K'ang Hsi, Sotheby's). Another popular type, a
pair of Ch'ien Lung cranes, £3,150 (height
17 in., Christie's). From the earlier Sung Dynasty,
a Ting-Yao saucer dish with moulded floral
decoration and an inner key-fret border,
£1,900 (diameter 12 in., Sotheby's). Earlier still,
from Han times, a terracotta statuette of a
woman with widely flaring skirt and loose
sleeves (hands missing), $3,000 (height 26£ in.,
Parke-Bernet).

The small collector. Roman marble head of a
woman, her hair with a centre parting and a
bun, £95 (height ioi in., ist/2nd century A.D.,
Sotheby's). A charming Egyptian blue glazed
amuletic figure of Tau-Ert, the hippopotamus
goddess and the benevolent deity of childbirth,
£45 (2f in., c. 26th Dynasty, Sotheby's).
Mixtec mottled green sandstone figure of Tlaloc,
the God of Rain, worked in a triangular linear
style, £60 (4J in., Central Mexico, A.D. 1200-
1521, Sotheby's). Ming Dynasty pottery pilgrim
bottle moulded with floral medallions, turquoise
glaze, £17 (height 7 J in., Christie's). Eighteenth-
century ivory netsuke of a little dancing fox-
woman, on one foot, with both hands holding a
cane, £17 (Sotheby's). Pair 18th-century white
Japanese hawks, on rocks with fish below, £40
(height 7£ in., Christie's). Recumbent lion
carved from black jade, $35 (length 2\ in.,
Parke-Bernet). Yuan Dynasty, Lung Ch'uan
celadon saucer dish, incised with a phoenix and
scrolls, £52 (diameter 13J in., Christie's).
Roman terracotta toy forming a horse on wheels,
£38 (4J in., 4th century A.D., Sotheby's). —
David Coombs.

191

:■ . •

International
Saleroom

I. One of a pair of English ivory portrait busts, by David le Marchand (of Sir Isaac Newton and John Locke, 7i and 7^ inches), early 18th century.
,£2,200 (Sotheby's). 2. Hubert Robert. The ruins of a Roman Temple, signed Roma, pen and brown ink, grey wash, 7J 13 inches. £420 (Christie's).
3. Van Gogh. Les Dechargeurs 21.J 25} inches. Dollars 240,000 (Parke-Bernet, New York). 4. George Stubbs. Hunter in a Landscape, 40 X 50 inches.
Bought by Messrs. Leggatt Brothers for £24,000 (Bonhams, London). 5. Paul Sandby, R.A. A Wooded path leading to a river, pen and brown ink and
watercolour, 14! X 21] inches. £525 (Christie's). 6. Louis XV ecritoire, the japanned tray carrying three celadon pots and gilt-bronze double candle-
sticks, Om 21 high, Om 40 wide. N.F. 27,000 (Palais Galliera, Paris). 7. Louis XVI mahogany veneered bureau with marble top, attributed to Riesener,
Om 895 high, I m 095 wide, Om 485 deep. N.F. 26,000 (Palais Galliera). 8 Amedeo Modigliani. La tete rouge, oil on cardboard, signed, Om 54 Om 52.
N.F. 134,000 (Palais Galliera). 9. One of a pair of flintlock duelling pistols, by Joseph Manton, signed, c. 1810. £390 (Phillips Son & Neale). 10. Auto-
maton table clock in the form of a lion, the case and figures of gilt-copper, 13$ inches high, possibly Dresden, c. 1600. £5,800 (Sotheby's).
£l = 13-68 N.F. = 2 • 79 Dollars.

192

193

International
Saleroom

13

11. Amedeo Modigliani. Portrait de Morgan Russell, signed, 39 ■ 25 inches (99 x 63 5 cm.). ,£31,500
(Sotheby's). 12. Painting in ink and colours on silk, in the manner of Chao Meng-fu, Yuan Dynasty,
38f X 32 inches. £2,800 (Sotheby's). 13. Kiyomasu: Kakemono-e, Tan-e; 22f X iif inches, unsigned. £2,000
(Sotheby's). 14. An early Louis XV kingwood bureau plat with fine ormolu mounts, 78 inches long,
39 inches wide, 33 inches high. £24,000 (Sotheby's). 15. Louis XV painted commode by Joubert and the
Martin brothers, made for the bedroom of Madame Adelaide in the Palace of Versailles ; carrying the
Versailles marque de feu, the inventory number 1965, a J.M.E. poincon and the indistinct signature,
33 inches high, 45 inches wide, 21 inches deep. £20,000 (Sotheby's).

194

International
Saleroom

16. One of a set of four early Louis XV candlesticks, 9 inches (230 mm.) high, by Nicolas Nolin,
Paris, 1724, with the poincons of Charles Cordier. £5,500 (Christie's). 17. One of a pair of
William III small andirons, 15 inches high, c. 1695, maker's mark P.R ; almost certainly for Philip
Rollos. ,£3,000 (Christie's). 18. Chagall. La Madone du Village, 40 < 39 inches. Dollars 82,500, a
world auction record (Parke-Bernet). 19. A highly important bronze bell (chung) from the
well-known Wei Hui Chime, late Chou Dynasty, 21) inches (54 cm.). £28,000 (Sotheby's),
bought by Messrs. Bluett for the British Museum. 20. Camille Pissarro. Landscape from Set.
Thomas, signed C. Pizzarro, 1856, 46 X 38 cm. Danish Kroner 30,000 (Arne Bruun Rasmussen,
Copenhagen).

£1=13- 68 N.F. = 2 79 Dollars 19 ■ 34 D. Kr.

16

18

19

195

International
Saleroom

23

25

21. Sir Winston Churchill. Canal Scene, lj>| 23^ inches. Dollars 26,000 (Parke-Bernet). 22. Degas.
Repetition de Ballet, 21 J 26 J inches. Dollars 410,000 (Parke-Bernet), a world auction record. 23. A
Faberge bonbonniere of green nephrite mounted in two-colour gold and diamonds, the portrait of
Czar Nicolas II, workmaster Henrik Wikstrom. Danish kroner 104,000 (Arne Bruun Rasmussen,
Copenhagen). 24. David Roberts, R.A. The Tower of London, signed and dated 1864, water and
bodycolour, oj finches. ,£472 (Christie's). 25. One of a pair of candlesticks, 6J inches (165 mm.)
high, The Hague, maker's mark a dove with olive branch, unrecorded by Voet, but recently identified
as that ofjan Arentsz van Rheenen (born c. 1616, died before 1690). ,£4,800 (Christie's).
£1 — 2 79 Dollars 19-340. Kr.

196

Books Reviewed

ISLAMIC ARCHITECTURE, AND ITS
DECORATION: By Derek Hill and Oleg
Grabar. (London : Faber cS. Faber. jQ6 6s.)

HERE is an art book deserving praise.
'Islamic Architecture and its I )ecoration',
so tin- joint authors modestly disclaim, is not a
definitive history of this vast subject. It is a
pioneering effort of a very comprehensive sort.
The 527 illustrations do not give the book coffee
table status. Yet they are perfectly adequate
without perhaps making Mr. I Iill as high grade a
photographer as he is a painter. The great
majority were taken by Mr. Hill over the past
ten years during his relentless hunt for quarry
across the Near and Middle East. The actual
area covered stretches in an immense triangle
from Turkistan and Afghanistan in the north
and south-east to Turkey and Iraq in the north
and south-west. Unfortunately the only map
supplied is totally inadequate for a reader en-
deavouring to track the places mentioned in the
text. Where, for instance, are Urgench, Tirmidh
and Ghujawan? The rivers Tigris and Euphrates
arc not even named.

The period of time covered is. roughly, from
the eleventh to the fifteenth centuries, of which
the twelfth and thirteenth witnessed the most
mature flowering of Islamic architecture. Non-
Muslim buildings have, quite rightly, been
omitted in this work.

Mr. Hill's written contribution is kept to a
bare five pages of Preface. One wishes for more
because he writes with such enthusiasm and
spirit. He explains what first impelled him to set
forth on the long, arduous expeditions which
resulted in this book. It was, he says, 'a desire to
record examples of decoration in architecture,
necessary to bring to life a bare wall: also the
proportion of decoration needed on the given
blank space to ensure the maximum impact'.
This, in a nutshell, is the artist Derek Hill's
thesis, which the scholar Mr. Grabar has ex-
panded in an historical text of under a hundred
pages.

Two things immediately strike one on looking
through Mr. Hill's photographs. The first is the
apparent uniformity of design in Islamic archi-
tecture, spread as it is over thousands of miles of
illimitable deserts, separated by practically im-
passable mountain ranges. The same features are
repeated century after century. Is this explained
by the fact that Islamic architecture was com-
missioned almost exclusively for religious and
royal purposes by princes, who all the world
over are notoriously cosmopolitan and con-
servative? The second is how little Islamic
architecture has influenced that of the west in
spite of the Crusades and trade between Asia and
Europe.

Mr. Hill tells us that the wall surfaces of
Islamic buildings give him the maximum im-
pact. This is understandable. The moulded and

rubbed brick, the carved stone applied rather
than integrated, the terracotta wrought to
resemble stone, and the stucco to resemble terra-
cotta, and, above all, the faience tiles in rich
tones, notably that wonderful turquoise blue,
were the Islamic masters' sign manual of the
decorative art. But for sheer beauty of un-
adulterated architecture can anything excel the
ribbed dome of Gur-i Amir at Samarkand, the
( j lindrical Ulu tomb with its articulated conical
cap at Ahl.it, the interlacing arches of the
Mosque at Herat, or the mausoleum tower of
Gunbadh-i-Qubas? Sturdy and economical the
last rises like an apostrophe out of the desert
steppes. No wonder Robert Byron ranked it
among the greatest buildings of the world. — =
James Lees-Milne.

JOHN CONSTABLE'S CORRESPON-
DENCE. VOL. II. (Ipswich: Suffolk
Records Society. 30s. to non-members.)
A SURPRISINGLY large quantity of John
Constable's correspondence survives — an indica-
tion of the warm regard for him of his relations
and friends — and that so much of it is readily
accessible is due to the indefatigable labours of
Mr. Beckett who has deposited transcripts from
the collections belonging to Lord Plymouth and
Colonel J. H. Constable in the Victoria and Al-
bert Museum. In his exacting and self-effacing
task he has been admirably supported by The
Suffolk Records Society, which has already pub-
lished one volume of the correspondence (The
Family at East Bergholt) and has another in pre-
paration, both edited by Mr. Beckett.

It cannot be justly claimed that as a letter
writer Constable ranks with Gainsborough: he
has not the wit and verve of his great predecessor
in Suffolk, whose art and memory he so greatly
revered. Many of the best of Constable's letters
are quoted from freely in Leslie's 'Life' (his letters
to Leslie /';/ extenso are promised us by the Society)
but those in Mr. Beckett's Constable and the
Fishers, include a number that are specially
revelatory of his aims and ideals as a painter and
also throw a most favourable light on his own
character and that of the Archdeacon.

Though on paper Constable was now and
again eloquent and capable of vivid phrases
when deeply moved, he was in his ordinary
domestic correspondence careless of syntax and
spelling; and when he wrote in a hurry, as he
often did, even the meaning is sometimes ob-
scure. The 'Early Friends' of the opening section
are mostly nonentities and a note from Con-
stable or a passing reference is their best claim to
remembrance. The letters exchanged between
Maria Bicknell, his future wife, from the
beginning of their long engagement until her
untimely death in 1828, together with the
journal which it was his habit to keep for her
when they were separated are a very different

The Art of Cezanne

KURT BADT

'This is a book that demands serious
reading and will give great delight.' —

GEOFFREY GRIGSON, COUNTRY LIFE. With

41 pages of plates. 50/-

Islamic Architecture

and its Decoration 800-1500

DEREK HILL & OLEG GRABAR

'Professor Oleg Grabar contributes a
comprehensive and scholarly text to this
photographic survey, in which Mr. Hill
combines the eye of the painter with the
perseverance of the dedicated traveller.'

— LORD KINROSS, DAILY TELEGRAPH. With

596 photographs. 6 gns.

Baroque and
Rococo Silks

PETER THORNTON

The first monograph to be devoted to
the beautiful silk materials of the 17th
and 18th centuries. With 128 pages of
plates. 7 gns.

Handbook of
English Costume

in the 18th Century

C. WILLETT &
PHILLIS CUNNINGTON

A new and revised edition of this useful
book. With 1 50 drawings. 70/

Italian Maiolica

BERNARD RACKHAM

'A mine of information and a joy to
browse through.' — journal of the
British ceramic society. With 100 pages
of plates. A new edition. 52/6

Pocket Book of
French and Italian
Ceramic Marks

J. P. CUSHION

The third volume in this valuable series.
With many reproductions of pottery
marks. 18/-

Faber & Faber

197

Constantinople

Iconography of a Sacred City

PHILIP SHERRARD
The rich life of the city of Constantinople,
ending with the Ottoman sack in 1458, is
brilliantly and sympathetically described by
the author and magnificently portrayed in
the illustrations. Numerous colour and
half-tone plates, line drawings 63s net

Jacopo Delia
Quercia's
Fonte Gaia

ANNE COFFIN HANSON
The Fonte Gaia is a crucial monument for
the understanding of the development of
Renaissance sculpture. This is the first
thorough study of the fountain in any
language. The text relates the history of the
fountain and analyses the imagery and
style of the carvings. 97 half-tone plates
75s net {Oxford Warburg Studies)

The Nazarenes

A Brotherhood of German Painters
in Rome

KEITH ANDREWS
' . . . Keith Andrews . . . must be warmly
congratulated on his able treatment of a
theme which is not without its
complications. He has a simple and concise
way of writing . . . ' apollo magazine
81 half-tone plates, 10 in colour 90s net

A Catalogue of

Architectural
Drawings of the 18th
and 19th Centuries,

in the Library of
Worcester College, Oxford

Compiled by H. M. COLVIN
' . . . impeccably edited . . . and very well
illustrated, contains much essential
material, most notably the Hawksmoor
drawings, for the study of English
architectural history generally and of
Oxford architecture in particular.' THE

TIMES LITERARY SUPPLEMENT

131 half-tone plates 75s net

English Merchants'
Marks

A field survey of marks made by
Merchants and Tradesmen in England
between 1400/1700

F. A. GIRLING

' . . . a first-class introduction to a fascinating
topic' HISTORY Numerous plates 35s net

OXFORD UNIVERSITY PRESS

matter, and to true Constable devotees must
prove of absorbing interest.

Careless, unstudied, hastily dashed down from
day to day, affording little information not
already available about his art (though his major
works within the period are briefly referred to
and the warm reception given to some of them
in Paris in 1824) the letters and journals form in
the aggregate a moving revelation of the deep
devotion to each other of the writers throughout
their long pre-marital anxieties and subsequent
trials — all the harder for Constable to bear be-
cause, as he writes to his wife, he 'was formed
with a mind (unfortunately perhaps) of the
most excruciating sensibility'. That he was of the
race that torments themselves there can be no
doubt, but cheerfulness would keep breaking
into his fits of gloom and he was abundantly
gifted with a dry sense of humour. Constable's
perpetual worries about ways and means seem to
have had little to justify them. He and his wife
thought it would be to court disaster to marry on
^400 a year, which would need to be multiplied
many times to represent its present equivalent;
and bearing that in mind the payments that he
received when he did sell his pictures were not
contemptible.

There is a great deal of trivia in a volume of
correspondence running to 450 pages — 'How
arc his bowels?- — we have found John's shoes —
and a single sock. I will bring them with the
arrow root' — and so on. But that is unavoidable :
the effect on the reader, so favourable to the
correspondents, is cumulative and cutting would
have been impossible.

Constable was a late developer but the large
diagrammatic topographical drawing reproduc-
ed from the editor's collection (Plate 2) can scarce-
ly be held to support Leslie's verdict that by this
date (1800) Constable's sketches show 'a true
sense of the beautiful in composition'. The
editing is most conscientious and thorough in-
volving many biographical particulars of for-
gotten worthies, which must have called for
laborious research. 'The Holy Family' is an odd
description of the famous Michelangelo relief in
the Royal Academy (The Virgin and Child
with the young St. John), and the Leaping Horse
hangs not in the Diploma Gallery there, as
stated, but in the General Assembly Room.

If a few trifling errors may be detected in the
copious notes, they do not impair the worth of
the volume. Mr. Beckett has rendered invaluable
services to the memory of Constable the man:
we look elsewhere for criticism and appreciation
of Constable as an artist. — Ralph Edwards.

WORLD ARCHITECTURE ONE: Editor:
John Donat. 255 pp. Illustrated. (London:
Studio Vista. 80s. net.)

ANY attempt at a synoptic view of fifty
modern buildings in twenty-two different
countries must involve selection and selection
usually means an editorial bias. It would be
easy to say that the bias in the case of this collec-
tion is a visual one. The first impression is one of
elegant pictorial journalism in which high
marks are due for presentation, format and
photography.

Enjoyable as it is to gaze on such striking
black-and-white photographs, this volume de-
serves more than a casual thumbing through of
its pages and the contributors have something to
say which is worth reading, provided the reader
can put up with a bit of harmless architectural
jargon.

John Donat, who is the editor as well as a?on-
tributor on the very esoteric British samples,
believes in using cliches vigorously, is a good
trend-spotter but one who is not easily taken in.
The publishers make it a condition of inclusion
that a work of architecture should be 'interesting
and exciting'; we must all hope that they will
continue to find enough examples to keep their
promise of making this review an annual
event. — Denys Hinton.

GAUGUIN: Volume I Catalogue: By

Georges Wildenstein. (Paris: Les Beaux-Arts.
F.frs. 150.)

THIS long-awaited volume provides the first
catalogue raisonne of Gauguin's paintings. The
final manuscript was finished and the early proofs
passed by Georges Wildenstein just before his
death last year. The high standards of scholarly
research and presentation which we know from
his volumes on Ingres and Fragonard are fully
maintained here. The catalogue runs to 638
items, but with the addition of a few 'bis' and
'ter' and the final rejection of Nos. 189 and 190
from the canon, the exact number probably
exceeds this. Each year's work is arranged in the
order of portraits, compositions, landscapes and
still— lifes. This grouping by subject makes for
easy and ready comparison of like with like,
even if it means the sacrifice of a strictly chrono-
logical sequence (e.g. a portrait painted in
December will precede a still-life of, say, the
previous February). The most surprising revela-
tion is that 150 works were executed in 1888-89:
almost a quarter of Gauguin's total oeuvre was
concentrated in these two years and coincided
with his crucial change of style.

The individual entries follow a set pattern.
Provenance and inclusion in exhibitions are
given as fully as possible; relevant quotations
from Gauguin's notebooks, writings and letters
and those of his contemporaries continue a docu-
mentation which is completed by the noting of
related drawings and prints. Wherever they are
considered important in their own right, works
in other media — gouache, pastel and fans — are !
also catalogued. The literature on Gauguin is j
vast and it was perhaps wise to keep references '
to previous books to a minimum. The compre-
hensiveness of the catalogue is emphasized by the I
inclusion of works under the headings 'NomJ
Uentifii' and 'Disparu. Some two-dozen entries;
come under the first category and refer to works ;
known to have existed from the evidence of
notebooks, letters, exhibition catalogues and
reviews. Roughly 50 works are classed as ;
'Disparu, but happily some of these have recent-
ly re-appeared (e.g. No. 272, a group of Breton 1
bathers of 1888, was shown at the Marlborough,
London in June, 1963, and No. 578 came up at )
Sotheby's last November). The present owner-
ship of two others may be mentioned — No. 142, '

198

a landscape of 1 885, has been in the Glasgow Art
Gallery since 1944 and No. 165 belongs to the
Earl of Jersey. Others will doubtless be re-dis-
covered.

An illustration accompanies each entry, with
the exception of the unidentified works and of
the still-life (409 bis), which happens to be the
only dated still life of 1890. Wide differences of
opinion exist regarding the dating of the still—
lifes and Wildenstein's proposals are not always
acceptable. Authorities will also differ over the
inclusion of some and the exclusion of other
works. Presumably, however, the problems of
authenticity — of copies, imitations, versions and
variants — will be discussed in volume II, in which
we are promised a biography, a comprehensive
documentation on Gauguin's life and work, the
illustration of several hundred watercolours and
drawings and a list of exhibitions in which his
work has appeared. The dossier on ( lauguin will
then be pretty exhaustively presented. — Ronald
Pickvance.

BOOK PRODUCTION NOTES

by Ruari McLean

Sir William Russell Flint's Slnidiws in Arcady
(Charles Skilton Ltd.) qualifies as a Private
Press book, although not so titled, since it has
been designed and produced by Sir William
essentially for his own pleasure. In a short
foreword he writes: 'My love of good typo-
graphy and intense appreciation of the master-
pieces of early printers have moved me to the
production of this book'. The text consists of
four of his own short stories, all with a French
background — indeed, with a strongly French
flavour — but not illustrated, although a few
thumb-nail pen and ink tailpieces and decora-
tions, mostly architectural, show that some full
page pen and ink drawings would have been a
welcome and decorative addition. Sir William
says disarmingly in his foreword: 'Any ex-
travagance of presentation must be attributed to
my own waywardness, not to my patient and
erudite printer, Charles Skilton'; and indeed,
books designed for one's own personal satisfac-
tion ought to have just those experiments and
eccentricities in presentation that would be
frowned on in mass-production. The present
volume is set in the now rarely seen Pastonchi
Italic, with drawn initials printed in blue,
rubricated headlines and folios, and marginal
notes, in Sir William's calligraphic hand,
printed in light brown ink from line blocks. The
book has been printed in an edition of five
hundred signed and numbered copies only, of
which four hundred and fifty are for sale. It is
( handsomely bound in blue and black cloth,
blocked with a design in gold, and will be
treasured by Sir William's friends and ad-
mirers.

Fine Catalogues

The catalogues of B. Weinreb Ltd. (39 Great
Russell Street, London, W.C.i) deserve high
praise: they are models of how antiquarian
booksellers' catalogues of this kind should be
produced, being decorative, elegant, profusely
illustrated and finely printed. Much trouble is

taken to make tine line blocks of superb quality,
from decorative title-pages, illustrations, car-
touches, etc. The two latest, Furniture and Bridges,
are, like their predecessors, designed by Gillian
Riley and printed by Robert Stockwell Ltd.
The quality of typography and machining is
outstanding.

Type for Books

Type for Books is the title of a remarkable speci-
men book issued by Mackay's of Chatham, and
on sale to the public at 42s. (obtainable from
Hugh Evelyn Ltd., 9 Fitzroy Square, London
W.i). It is remarkable because it displays the
complete fount (down to the last comma and
swash sort) of every size of every face held,
which is a precious boon to the serious designer ;
and the range of faces is also remarkable. Apart
from all the best 'Monotype' book faces (in-
cluding such excellent but less frequently found
faces as Buhner and Van Dijck), there arc many
fine but uncommon display faces from European
foundries. The book is finely designed and
printed and will be a valuable addition to any
typophile's shelves.

BOOKS RECEIVED

(The inclusion of a book in this list does not pre-
clude us from publishing a review later.)

Illustrated Catalogue of Ting Yao and
related white wares in the Percival David
Foundation of Chinese Art. Section 4: By

Hin-Cheung Lovell. University of London.
15s.

Nineteenth-Century Painting: By Georges
Peillex. Translated by Angus Malcolme.
London: Weidenfeld & Nicolson. 12s. 6d.
net.

Furniture. An explanatory history: By

David Reeves. Revised edition, first pub-
lished 1947. London: Faber & Faber. Cloth
bound 25s. Paper cover 12s. 6d.

The Barbizon School: By C. M. Kauffmann.

Victoria & Albert Museum. London: H.M.

Stationery Office. 4s. net.
Jewels: By P.J. Fisher, F.G.A. London: B. T.

Batsford. 35s. net.

The Search for Meaning in Modern Art: By

Alfred Neumeyer. Foreword by Sir Herbert
Read. London: Prentice Hall International.
Cloth 40s. Paper 16s.

The Berlin Painter: By Sir John Beazley,
C. H. Occasional Painter No. 6. Melbourne
University Press for whom Cambridge Uni-
versity Press act as agents. 10s. net.

Chivalry: By Leon Gautier. Revised and
abridged. Edited by Jacques Levron. Trans-
lated by D. C. Dunning. London: Phoenix
House Ltd. 55s. net.

The Penrose Annual. Volume 58, 1965:

Edited by Herbert Spencer. London: Lund
Humphries. 50s.

Medieval Wooden Sculpture in Sweden.
Volume V. The Museum Collection,
Plates. Stockholm: The Royal Academy of
Letters, History and Antiquities (Storgatan
41). Swedish Kr. 150.

THE ART
OF IRAN

Andre Godard

A chronological survey of Iranian
Art from primitive times through
the Archaimenid, Seleucid and
Parthian, Sassanid and Islamic eras,
by an archaeologist who has spent
nearly thirty years in the area.

Nearly 500 illustrations 84s

THE BIRTH OF
JAPANESE ART

J. Edward Kidder, Jr.

Japan's archaic sculpture is the ori-
ginal art of a country which was
later overwhelmed by the cultural
influences of China and Korea.
Professor Kidder, a recognized au-
thority on early Japanese art, has
enabled the reader to examine this
rare material in the light of modern
scholarship.

Illustrated 6 gns

ALLEN & UNWIN

BATSFORD

Guns and Rifles
of the World

Howard L. Blackmore 7 gns

Medium 4to 2Q0 pages 1042 photographs
and drawings

Written by the President of the Arms
and Armour Society, this technical
history of die development of firearms
since the fourteenth century covers the
products of Britain, the U.S.A., Ger-
many, Scandinavia, France, Spain, Italy,
Turkey, Russia, Persia, India, China
and Japan. The photographs and draw-
ings will enable the reader to date and
place any specimen likely to come into
his possession.

A prospectus is available

B. T. BATSFORD LTD

4 Fitzhardinge Street London W.i

199

The American Connoisseur

Jewels by Giovanni
Battista Scolari

YVONNE HACKENBROCH

THE pendant is the most representative jewel of the Renais-
sance. It offers unique opportunities for the display of
splendour, to which the sparkle of precious stones and the bright
hues of enamel contribute. Some pendants are purely orna-
mental, others include figures or tell stories. Our attention is
particularly attracted by a group of jewels, whose fascination is
due to an irresistible display of humour. The enquiry into the
circumstances of their origin discloses the name of a hitherto
unknown artist, Giovanni Battista Scolari.

The jewel in the collection of Mr. and Mrs. Jack Linsky of
New York (No. i) represents lovers seated beneath a canopy in a
gondola. They listen to the tunes of a lute player, while the
gondolier attends to his task. All figures appear in sixteenth-
century costume. Studded with rubies, emeralds and diamonds,
the jewel is suspended from a cartouche joined by double chains
interspersed with clusters of small pearls. The theme is typically
Venetian, yet endowed with a fairy-talc quality as if recording
wonders of a distant world.

A somewhat similar, though smaller gondola pendant exists
among the Medici jewels at the Palazzo Pitti in Florence (No. 9).
Here the number of passengers has been increased. A female lute
player assists in the musical entertainment, an additional oarsman
at work. A triple chain joins the jewelled gondola to a cartouche
for suspension. Below is an ornament simulating rippling water
and flowers, originally hung with three pendant pearls.

Another pendant of similar shape (No. 2) is at Waddcsdon
Manor, Buckinghamshire, but considerable alterations have
changed its appearance. The barque is almost identical to that at
Florence, as are the pair of oarsmen and the lute players in six-
teenth-century costume. This rare duplication results from using
one model for both. However, instead of lovers seated beneath a
canopy, the Waddcsdon Manor pendant displays attenuated
figures standing in tender embrace, a bird at their feet. They have
been described as Antony and Cleopatra, probably because of
their classical Roman attire. This is an obvious anachronism, as
both these passengers are attended by sixteenth-century costume
figures; even though they seem singularly unaware of them. The
elegant bearing of these figures is in complete contrast to the
popular appearance of the smaller ones, a contrast carried further
in the disparate treatment of the solid barque and the scrollwork
above. No doubt, the original baldachini have been replaced by
the taller figures in Roman costume surrounded by openwork, of
a style suggestive of engravings by Hans Collaert of Antwerp,
active during the last quarter of the sixteenth century.

Also part of this group forms another Medici jewel at Florence
(No. 8), of most particular attraction. The gondola is replaced by
a gondola-shaped baroque pearl in jewelled setting, with car-

I. Lovers seated beneath a canopy, a gondola pendant in the collection of
Mr. and Mrs. Jack Linsky of New York.

200

Another pendant of similar shape to Nos. I and 9, this one being at
/addesdon Manor, Buckinghamshire.

mche at the apex, joined by double chains, and an ornament of
raves, flowers and pendant pearl below. At the centre lovers are
ated side by side, listening to a serenade, performed by charac-
■rs of the Italian Comedy. Pantaloon is seated at the prow,
laying the lute; his servant Zanne, seated at the stern, accom-
snies him. Pantaloon, bent and bearded, wears the traditional
lack skull cap, tight leggings and voluminous coat. Zanne, his
•rvant, appears in feathered hat and loose, white garment.
Where did these jewels originate, and who conceived the
elightful idea of turning Venetian gondolas into jewels, and
wels into a stage for musicians to perform on? Was this thought
iggested by Venetian engraved designs or based upon events in
le jeweller's own life?

Among the popular books describing the wonders of Venice is
ietro Bertelli's Vere Imagine et descritioni delle piu nobili citta de
ondo, published at Venice in 1572. The engraved illustrations
lclude various representations of gondolas, conceived with a
elightful sense of humour. In some instances, as seen on the page
^produced (No. 3), the curtain of the canopy is added on a

3. From Pietro Bertelli's Vere Imagine el descritioni delle piu nobili citta de
mondo published in Venice in 1572. New York Public Library.

4. From Naspro Bizaro's Calate Fantastiche, published by Domenico Nico-
lino in Venice in 1565. Department of Prints and Drawings, British
Museum.

20T

5. A page from the Album of Julius Bayr, Nuremberg, 1579. Lippe-Heyde 6. Page from Julius Bayr's Album of 1579, showing Pantaloon and Zanne.
Koituembibliothek, Berlin.

separate paper which can be lifted to reveal the lover. Such an
illustration may have served as inspiration to our jeweller. The
likeness of Pantaloon, serenading beside a gondola, appears in a
rare book at the British Museum, Naspro Bizaro's Calate Fan-
tastiche, published by Domenico Nicolino in Venice in 1565
(No. 4). The portrayal of comedians is unusual before the last
quarter of the sixteenth century, when performances of the
Commedia dell'Arte abroad, and particularly at the court of
Charles IX in 1571 in Paris, had fully established their reputation.

The style of these gondola jewels does not seem rooted in
Italian tradition. They lack that clarity of line which we have
come to expect of all things Italian, as part of the classical in-
heritance. The organization of story-telling elements amidst a
profusion of pearls and precious stones is indicative of Northern
imagery. Foreign attractions frequently increase with distance,
when romantic impulses mingle with the desire to escape the
realities of life. This attitude enhanced the fascination of Venice
and of the Venetian scene abroad, particularly in Northern
countries, where the impulse to go South had become proverbial.
How otherwise could one explain the inclusion of a gondola and
of a scene with Pantaloon and Zanne in dispute, on pages of an
album which, in 1579, belonged to Julius Bayr of Nuremberg
(Nos. 5 and 6) > Perhaps the circumstances of origin of these
gondola pendants will come to light if we follow the Italian
comedians on their first recorded visit across the Alps.

At the occasion of the wedding of Duke William of Bavaria tc
Renata of Lorraine, in February of 1568, bis father Albrecht \
invited a group of Venetian actors to perform a 'Commedi;
improvisa all'Italiana' as part of the festivities at Munich anc
Landshut. Hans Wagner wrote the Kurtze dock gegruendeU
Beschreibung dcs . . . herren Wilhelmen, Pfalzgraven bey Rheiu
hertzogen in Baircn . . . , which Nicolas Solis, brother of Virgil
illustrated, and Adam Berg published at Munich in 1568
Wagner describes the jewelled costumes of bride and groom, henp
with 'sehr vil gross Diamand an dero rock .... woelche ain thai i
spitzig, und ain thail Taffeln in Gold versetzt gewesen seim
(many big diamonds on her dress, some of them pointed, some
table-cut and mounted in gold), his as being of 'gewaltigei j
pracht von Klaidern, Klainater, unnd anderem geschmuck I
(great splendour of costume, jewels and other adornments). Or
page 65 he refers to the ' Welsche Comedj : Nach welchem air I
lustige und kurtzweilige Comedj in Italienischer sprach gehalter
worden ist/Und darnach hat sich jederman zu Rhue gethan I
(Italian Comedy: thereafter a gay and entertaining corned) |
was performed in Italian/afterwards everybody took a rest).

In addition to this elaborate festival book of 1568, another |
account of the celebration survives. This was written by Massimc J
Trojano, a Neapolitan musician at the Bavarian court, who in-1 1
vented the plot of the play performed on Monday evening j
March 8th. Orlando di Lasso, famous organist, played il Mag- j

202

7. Pendant, in the form of a gondola converted into a boat, in the Melvin
Gutman Collection, New York.

}

8 and 9. Two pendants in the Palazzo Pitti, Florence (Museo degli Argcnti).
No. 9 should be compared with Nos. 1 and 2.

10. Also endowed with Scolari's light-hearted humour, and showing a
female lute player, this pendant at the Rijksmuseum.

II. The only devotional jewel which can be attributed to Scolari is this
Annunciation, in the Bavarian National Museum, Munich.

nifico, also known as Mcsser Pantalone di Bisognosi of Venue,
Giovanni Battista Scolari, goldsmith from Trento, played Zanne,
his servant, and Massimo Trojano 'musikus' took over three
other parts. After describing the plot in detail, Trojano con-
cludes that 'although the audience was unable to follow the dia-
logue, the acting of Mcsser Orlando di Lasso and of Baptista
Scolari was so admirable that all laughed.

The participation of an Italian goldsmith in play acting at the
court of Bavaria deserves explanation. Scolari's name appears in
court accounts at Munich between 1567 and 1583, as recipient of
payments for medals, rings and chains, in addition to supplying
pearls 'zur erkhauffung perl' and other services. Although he
never joined the Munich goldsmiths' guild, he enjoyed the privi-
lcdge of court artists 'waelschcr goldschmid hofgesind', which
gave him freedom from taxes at his house in the Weinstrasse.
On 24th January, 1574, Duke William wrote to his father,
Albrecht V, that he wanted to take Scolari along to Innsbruck
'den batista goldschmidt, whil ich mitt mir nadb Ispruckh
nemmen'. But in 1575, when the young duke was near bank-
ruptcy, he had to dismiss him again, together with fifty-one
members of his household. Immediately thereafter Scolari was
offered a pension to stay at Landshut 'fuer das er sich zu Lann-
shuet moeg anrichten mit jerlicher provision fl. 50'. But soon
after Albrecht V brought Scolari back to Munich, at an annual
salary of fl. 180.

The connection of Scolari, the goldsmith, with the troupe of
Italian actors began when, shortly after their arrival at Munich,
one member of the cast was killed in a duel. To help overcome
his countrymen's predicament, Scolari substituted as Zanne,
servant of Pantaloon. His performance was excellent and earned
him the praise of having impersonated the licentious character of
Zanne so admirably, that one was led to believe he hail lived for

fifty years in the valleys of Bergamo ('welcher des losen Zanne I
Rolle so trefflich agiert, dass man vermeinte, er haette 50 Jahre in
den bergamesischen Taelern geweilt ).

We believe that Scolari commemorated his great stage success f
on a jewel portraying his partner and himself in the roles of I
Pantaloon and Zanne. The intimate character and small size of I
the pendant at Florence strengthens the belief that the jeweller I
followed a playful impulse rather than a court order, which may I
have followed later. Thus would be explained the animation and I
simplicity of this first conception, followed by later variations of I
increased size and splendour. Court commissions frequently I
show a tendency to indicate the wealth of courtier, court and. I
country. That, at least, is the impression derived from the study I
of sixteenth-century portraiture and the descriptions of pageantry I
in festival books. The splendid gondola pendant in the collection 1
of Mr. and Mrs. Linsky indicates such high patronage.

Documentary evidence confirms our belief that this group of I
pendants by Giovanni Battista Scolari originated at Munich, at I
the time following the wedding festivities of William and Renata »
of Bavaria in 1568. Persistent search has revealed an inventory I
entry at Schloss Ambras near Innsbruck (Inventory of Ambras, 1
September 15, 1577. Wiener Jahrbuch, Vol. VII, 1888, p. *|
CLXXI), of 15th September, 1577, describing 'a jewel, like a 1
Venetian gondola, in it a magniheo and Zanne, and a magniheo 1
with ladylove seated together, with a triangular diamond and five
flat rubies, in addition to several small emeralds, rubies and eight I
pearls' (Ein klainott, wie ein gondola Venctiana, darin ein mag- I
nifico und Zanj sambt magnifico und cortegiana bcisamen sic- I
/end. mit eim dreiekenden diemant und funf robintafcle sambt ]
etlich kleinen shmarallcn, robintafcle und acht perlen). The I
jewel belonged to Maria of Austria, daughter of Albrecht V of j
Bavaria, and sister of Duke William, at whose wedding the

204

Italian comedians had performed. Mana s intense desire to
patronize Munich goldsmiths is expressed in correspondence
with her brother. Shortly before her own marriage, in 1570, she
enquired who was to execute her bracelets 'armbaenndtl ,
because 'der Reimer babe kein Gold' (Reimer has no gold). (1 [ans
Reimer is the Munich court jeweller, whose gold figure of St.
George, at the Schatzkammer in Munich, was commissioned by
her brother, w hen Duke William V.) Maria asks for her brother's
permission to have these bracelets made by 'padista' (Baptista
Scolari) or by some other master. Her wish to employ Scolari
may have been due to the pride and joy of owning already one of
his gondola pendants. The occurrence of two such jewels among
the Medici heirlooms suggests that they were wedding presents
from the Hapsburg at Innsbruck to the Medici at Florence, or part
of dowries, chosen as particularly suitable because of the Italian
theme.

Scolari must have made other jewels during his stay in Ger-
many. These may be difficult to recognize because this subtle
irtist adapted himself to German taste and patronage. A pendant
ill the collection ot Melvin Gutman of New York (No. 7) shows
the gondola converted into a boat, and the passengers into sight-
seers sitting back to enjoy the ride. The jewel has suffered alter-
itions, including the crude way of attaching the double chain to
the heads instead of prow and stern. Nevertheless, some of the
innate humour, so characteristic of Scolari's work, survives in
this German version of the Italian theme.

Also endowed with Scolari's light-hearted humour is another
pendant at the Rijksmuseum at Amsterdam (No. 10), portraying
1 female lute player riding a white doe, studded with jewels
ind with jewelled collar. The group is suspended from a double
Shain with clusters of pearls and stones, joined at the apex by
horizontally lined up diamonds with a pearl drop below. Chain
and cartouche are similar to those of the gondola in the Linsky
Collection, where a male lute player provides the musical
entertainment. The lady on the doe is like a sister to the lady
seated in the boat, of the Gutman Collection; their almost
identical costumes follow German fashion of about 1570, only
the plume on one hat had to be sacrificed to attach the chain. This
little lute player shows all the characteristics of Scolari's style —
his light-heartedness, his precision of modelling and his balanced
taste.

The only devotional jewel which can be attributed to Scolari is
1 pendant with the Annunciation, in the Bavarian National

J Museum in Munich (No. 11). The traditional theme is inter-
preted in a highly personal manner, full of charm and delicacy.
As on all of Scolari's pendants, the figures move like actors on a
stage, beneath a canopy hung with Venetian brocades. This
rendering occurs in Venetian bible illustrations and is at variance
with the Northern convention of placing the scene in the Virgin's
modest chamber. Between Virgin and Angel a fringed black and
2;old-patterned tablecloth is spread, of a kind reminiscent of
Italian cut velvets, and also of the decoration seen upon the boat

I in the Melvin Gutman Collection. Scolari's mingling of Italian

find German imagery is evident in the generous distribution of
pearls and precious stones which playfully over-rule classical
restraint. Such exuberance is Germanic and recalls the all-over

I display of pearls on the gondola pendant at Florence, which was
originally also hung with pearls below. The Italian-born Scolari
harmonizes the different aspects of two artistic traditions.

A pendant at Schloss Rosenborg in Copenhagen shares some of
these characteristics, although intended for use (No. 12). For that
jewel is to serve as toilet implement, a purpose in conflict with
the sensibilities of some patrons, but apparently not with those of
Germany. A large baroque pearl, of similar crescent shape as the

12. Pendant at Schloss Rosenborg, Copenhagen.

pearl of the gondola at Florence (possibly part of the same-),
serves as body for a sea-monster with ruby-set tail. A putto,
enamelled in white, and holding the same posture as the gondo-
liers, is taming him. The putto overcomes the menacing sea-
dragon single-handedly, resting his free arm playfully upon
nearby scrollwork. This whimsical attitude, while threatened to be
swallowed alive, is part of the jewel's light-hearted charm, a
quality characteristic of all jewels attributed to Scolari.

Giovanni Battista Scolari knew how to temper virtuosity with
humour, without trespassing the narrow limits imposed by the
very nature of all things precious. It is a pleasure to rescue this
delightful artist from oblivion, to introduce him bv his name and
to illustrate some of his work.

A further article by Yvonne Hackenbroch, 'Renaissance
Pendants after designs by Jost Amman', will be published 111
the September number.

As this article goes to press Miss Hackenbroch reports, from Paris, the discovery of a
further gondola pendant incorporating lovers beneath a canopy, oarsmen, and with Pantaloon
and Zanne playing lutes. This jewel (not on exhibition) is in the Music de Cluny (Inv.
No. 205 30). It is set with diamonds and small rubies and is undoubtedly the work of G.
B. Scolari. — Editor.

Literature

Max Frankcnburger, Die Alt-Muenchner Goldschmiede und Hire Kunst. Munich,
1912, pp. 96, 101 ff, 305 ff.

Karl Trautmann, 'Italicnisclic Schauspieler am bayerischen Hofc'. Jahrbuch fuer
Muenchner Ceschichte, Vol. I, 1887, pp. 193-312.

Charles Sterling, "Early Paintings ot the Commedia dell'Arte in France'. The
Metropolitan Museum of Art Bulletin, 1943, pp. 1 1-32.

K. M. Lea, The Bibliography of the Commedia dell'Arte. The Miscellanies of the
Comici and I 'irtuosi, London 1930, pp. 1-38.

Otto Hartig, 'Die Kunsttaetigkeit in Muenchen unter Wilhclni IV und Albrccht
V. 1520-79'. Muenchener Jahrbuch, Vol. X, 1933, p. 147 ff.
K. M. Lea. Italian Popular Comedy, Oxford 1934, Vol. I.

205

English silver in an American
company museum: 1

CARL CHRISTIAN DAUTERMAN

ALTHOUGH 'company museums' were known in Europe
during the eighteenth century, they are largely a twentieth
century development in America. A model example is the Mus-
eum of the Folger Coffee Company, of Kansas City, Missouri.
It is singular not only for its location — in the geographic centre
of the country — but also for its policy of coupling the aesthetic
appreciation of English silver with the agreeable art of coffee
drinking. Amazingly energetic, it acquired within its first five
years about one hundred and fifty splendid examples of coffee
pots and related accessories for dining. Its possessions, now num-
bering over two hundred, are so well chosen that venerable
museums from coast to coast have requested them on loan to an
extent that would keep them constantly afield. Since launching
the programme in 1959, the owners have been granting only two
such loans annually, thereby reserving a considerable portion of
each year for their home community.

The genesis of this distinctive and highly successful project in
public relations lies with Joseph S. Atha, Chairman of the Folger
Company. He, with Mrs. Atha, exercised the high connoisseur-
ship required to preserve the balance of types and the outstanding
quality of craftsmanship represented in the company's museum.
As frequent visitors to England, they almost always find just one
more piece' to illustrate yet another facet of the cultural or stylistic
developments associated with the drinking of coffee.

The most impressive sequence within the collection deals with
that friendly, indispensable and notably English manifestation in
silver, the coffee pot. Although Near Eastern custom favoured
brass, England honoured the new drink with vessels of silver
soon after it was introduced. The gesture was particularly appro-
priate to the last quarter of the seventeenth century, which has
often been called England's Silver Age. The Folger silver falls
just short of that distant time in its eighty-seven coffee pots and
eleven coffee urns that range from 1702 to 1826.

The earliest surviving silver coffee pots (one dated 168 1 is in
the Victoria and Albert Museum) were in the form of a simple
inverted cone with bell-shaped lid, flat bottom, straight spout and
S-scrolled handle. A baluster shaped type was realized before the
end of the century (No. 2). The bellied Turkish form illustrated
on the shop signs and copper tokens of London's oldest coffee
houses was apparently only a trade symbol without parallel in
silver. The forms and features of Silver Age coffee pots were not
sharply differentiated from those of their counterparts intended
for the rival drinks, tea and chocolate. Only with the advent of
the eighteenth century did the coffee pot begin to assert its
stylistic individuality.

Before the turn of the century, influences from Holland, such
as hammered bands of compact fluting, were giving way to the
French predilection for cut-card ornament. The latter took the
form of leaf-shaped appliques that were not only decorative,
but actually strengthened the bonding of spouts and handles to
the bodies (No. 1). They were in the taste of the Huguenot
goldsmiths who had managed to establish themselves in London

in spite of the resistance of their English brethren in the local I
guild. The assay quality of the silver itself was enriched tempor-'
arily by royal order to match that of France, as a means of halting
the conversion of sterling silver coinage into articles of luxury for I
the home.

By the opening of Queen Anne's reign, at which point the
Folger Collection chronologically begins, swan-neck spouts and j
high dome covers had appeared, as in the 171 1 example seen in I
No. 3. Some precocious attempts had even been made at pinch- 1
ing in the base of the vessel to create a distinct foot, a feature
which was not destined to come into its own for another genera- 1
tion (cf. No. 6). 'Lighthouse' shapes, occasionally becoming
octagonal, and simple mouldings soldered on below the median
line, gave these early vessels a stamp that survived long after
Queen Anne's reign. Simplicity, sturdiness and the use of under-
stated ornament directed the eye to the aristocratic gleam of the
polished metal.

Fashion in silver, which had marked time during the reign of
George I, rapidly changed its tempo under his successor. Now the
sinuosity of the recurved spouts and scrolled handles began to
overcome the static dignity of the conical or octagonal pots. In
the 1730's experiments were begun with volumes that expanded
and contracted to yield new variations of pear and melon shapes.
Surfaces were manipulated into lobes that swirled and spiralled
with the rhythmic effect of dynamic symmetry. In addition, the
restless forms at times were hoisted upon tripod supports to give
them a flippant, dancing quality (No. 7).

Although this was the period of another French contribution —
rococo scrollwork — there perdured among these forward-look-
ing gambits an appreciation for architectural shapes and un-
cluttered surfaces. The latter aspect is brilliantly displayed in I
Lamerie coffee pot of 1730 (No. 5), and again in one of unique
pyramidal form by George Wickes, dating from 1745. The latter,
a very recent acquisition, is regarded by Mr. Atha as the most
rewarding find of all (No. 9) ; he had postulated the existence of
such a form before this example came to his attention.

It remained for the period of George III to exploit the rococo
influence to the full with rippling contours, embossed ornament
and attenuated proportions (No. 10). But in the nature of things,
design could not stand still at a time of such sophistication.

Robert Adam's revival of classicism pervaded even the world
of coffee pots. Organic forms were exchanged for urn shapesr
derived from the potter's world, with tall incurvate necks and
wasp-waisted collet feet. Ornament was largely eschewed, or
when employed consisted of minuscule headings and discreet
bright-cut engraving (No. 11). Thus things went until the end of
the century, when the increasing supply of sheet silver available
from the rolling nulls encouraged a return to cylindrical shapes
akin to those of a century before (No. 12).

The Folger Coffee Company collection illustrates these many
trends, not only in coffee pots, but also in their genteel accessories,
which will be the subject of a further article.

206

[. The special interest of this coffee pot is anatomical, as seen in the sub-
stitution of a tap for the more conventional spout (thereby seeming to
lemand a stand for easy pouring), and the presence of a fan-shaped thumb-
5iece, confessing an indebtedness to pre-existing flagons and tankards. For
nanageability, the loop handle is placed in line with the spout, a departure
rom the side handle common to chocolate and coffee pots of those days.
The 'stratified' decoration ranges from the sculptural fullness of the sea-
torse spigot to the flat relief of the cut-card ornament and the delicate
;ngraving of the baroque coat-of-arms (Lee impaling Glegg). By William
Charnelhouse, London, 1704.

J. The octagonal form offered another intriguing departure from the con-
ventional lighthouse shape, especially when the faceting extended to the
cover and spout. Here in an early example, precise geometrical patterns are
defined by the play of light, beguiling the eye. The conspicuous hinge
suggests a vestige of the outmoded thumbpiece, whose function now has
been transferred to the finial. By this date the spout has developed a grace-
ful swan-neck profile, although retaining its own hinged cover or flap, as in
earlier days. By John Folkingham, London, 1711.

2. Straight tapering lines did not determine the profile of all Queen Anne
coffee pots. Here, in this pear-shaped jug, the fertile combination of curve
and recurve is not only obvious in the body but also has been evoked for the
moulded cover and spreading round foot, not to mention the jaunty
thumbpiece. The term 'jug' is an allusion to the design, which permits
pouring from the level of the mouth, via a short lip. The insulating raffia
around the silver handle helps to make the grip more comfortable and
firm. There is no decoration other than the modest moulded band near the
base of the spout and the finely engraved arms just below, of Longueville
impaling Conway. By John Gibbons, London, 1706.

207

4. Except for its height (3i inches), this pot, from the reign of g U
not vastly dissimilar to the earliest known English coffee pots winch, ho w-
ev r had simple conical covers and spouts springing from a higher point in
he body. It I one often such miniatures in the collect^ P'esuxnablj
most of these were made as toys for furnishing the costly doll houses of
Z eighteenth century, although their precision of detad eavesroo.f r
the suggestion that they may have been wrought as scale models.-Un-
doubted they were collected then, as now, for then- innate charm as
miniatures. By Augustine Courtauld, London, circa 1726.

S This is an exquisite example of Lamerie's ability to work in a restrained
vein Here he has balanced elements of conservatism with inventiveness.
He chose to retain the Britannia standard, the truncated cone and the
multiple mouldings of William and Mary's reign, blending them with a
French side handle, and discreetly engraved panels in a revival of the
Louis XIV idiom. Other notable features are the sure, imaginative hand-
ling of the newly flattened cover, the ornamental spout, and the attach-
ments of the handle. The cover displays an engraved cartouche of shells
and trclliswork. By Paul de Lamerie, London, 1730.

208

7- This exuberant coffee jug displays Lamerie's penchant for sculptural
movement and asymmetry, exemplifying his richer vein. Here grotesque
masks, sprays of coffee leaves and a variety of shells combine with swirled
flutings to herald the irrepressible vitality of the emerging rococo. The rich
ornamentation is achieved in large degree by the process of casting, always
more favoured by those who were trained in the French tradition, as was
Lamerie. In spite of the virtuosity of design, a regard for function is ex-
pressed in the positioning of the feet, those at the front serving as balancing
points when coffee is poured. By Paul de Lamerie, London, 1738.

6. A new turn of fashion is embodied in this coffee pot of the mid-thirties,
with its ogival dome cover, cannclated sides and a retracted base that sets
off the foot as an anatomical entity. Such restlessness of surface, crowned by
the jewellery-like detail of the cover, was a harbinger of oncoming rococo
tendencies that were to inject a new vitality into the design of everyday
. By Henry Herbert, London, 1736.

209

8. This lighthouse coffee pot from the Channel Islands expresses a simplicity
of form and a reticence of ornament appropriate to an area where little si]
ver was produced for secular uses. A coffee pot from that source is a choici,
item in any collection. This one is especially so for its butt hinge and the
beautifully modelled anthemion at the base of its spout. By P. Aubin
Channel Islands, 1740-50.

9. Frederick, Prince of Wales, patronized the maker of this singular quad-
rilateral jug. The handle is cleverly affixed to the rear angle and is demount-
able, being secured by two silver pins that lock it into the sockets. Though
square in section, it gives the impression of being lozenge-form because
of the position of the handle and spout. This jug was commissioned at a
price of ,£8. 16. o by a 'Mrs. Elton', presumably the sister-in-law of Sir
Abraham Elton, third Baronet of Clevedon Court, whose arms it bears. By
George Wickes, London, 1745.

210

o. Toward the end of the rococo period, an elongation of the pear shape
ook place, sometimes coupled with the ogee-moulded effect of cover and
ody shown here. Ebullient repousse ornament was a mark of fashion,
irith flowers, C-scrolls and gadroons creating lively coruscations by
andlelight. This example is extraordinary for its chinoiserie figures, palms
nd thatched pavilions — motives usually associated with teapots and caddies
hough seldom seen in coffee utensils. By Thomas Whipham and Charles
Vright, London, 1764.

I. A suave baluster profile illustrates the restraint that characterized
lesign in silver during the last quarter of the eighteenth century. Lavish
irnament in relief has given way here to disciplined small headings and
haste patterns executed in the new 'bright-cut' technique of engraving,
/lonogrammed medallions and bow-knotted garlands often took the place
if coats-of-arms. This example is by Hester Bateman, the most popular
voman silversmith among today's collectors. She shares her place in the
:olger Collection with the work of Dorothy Sarbit and Rebecca Eames.
.ondon, 1783.

2. The coffee percolator of our day preserves the principle of the original
)iggin without honouring the name of the inventor. The name is perpetu-
ited, however, in Northern England, where 'Biggin time' occurs daily at
0 a.m. and 4 p.m. The vessel is a species of coffee jug furnished with a
■emovable compartment of metal or muslin which suspends the grounds
ibove the beverage and keeps them separate in pouring. Functionalism is
lere the keynote of the design. The cylinder and the oval, illustrated by the
vessel and its lamp, provide the basic schemes with a directness of statement
ikin to the ideals of today. The delicate ribbed mouldings and ivory handle
leny any charge of austerity. Contemporary hot water urns were made
o the same pattern. By Robert Salmon, London, 1796.

211

Above left. Miguel Sithium. The Assumption of the Virgin. SI ■ 6\ in.
26J X 2l£ in. National Gallery of Art, Washington.

Above right. French School, fifteenth century. A Knight of the Golden Fleece. Panev

The Connoisseur in America

M-L. D'OTRANGE MASTAI

Two Notable Northern Paintings for
The National Gallery

IN 1 521, Albrecht Diirer visited Margaret of
Austria, regent of the Netherlands, and en-
joyed the culminating honour of having the
Princess herself serve as his guide on a tour of her
renowned art collection. Among all these
treasures, the German artist noted more par-
ticularly: 'about forty little panels in oil colours,
such as I have never seen for precision and ex-
cellence'. Diirer was referring to a group of
miniatures done around 1 500 for Queen Isabella
of Spain, and incorporated in an 'oratory'
depicting scenes from the life and passion of
Christ. There were originally forty-seven in all,
of which forty-five were painted by Juan de
Flandes, a Flemish artist working at Isabella's
court. But the two paintings depicting as it were
the climaxes of the story of Our Lord and His
Mother, were assigned to Miguel Sithium.
These illustrated, respectively, the Ascension of
Christ and the Assumption of the Virgin. When
Diirer visited the collection of Margaret of
Austria, both of these had become the possession
of this enlightened patroness of the arts: they had

been acquired when, after Isabella's death in
1505, her estate was inventoried and the entire
series of panels offered for sale. At that time,
Don Diego de Guevara, treasurer to Margaret
of Austria, bought thirty-two of the panels, in-
cluding the two by Sithium, which were sub-
sequently described in two of Margaret's inven-
tories (15 16 and 1523) as 'a diptych, by the hand
of Miguel, of the Assumption of our Lord and
of our Lady, which is kept in a cypress case with
two silver clasps'.

After the death of Margaret of Austria, there
is no further record of the panels until 1904,
when the Assumption of the I 'irgin appeared in an
exhibition of French Primitives in Paris. In 1929,
Professor M. J. Friedlander, the eminent art
historian, identified it as the work of Sithium.
The other half, the Ascension of Christ, is in the
collection of the Earl of Yarborough in Eng-
land, while the Assumption has now been ac-
quired, through the Ailsa Mellon Bruce Fund,
for the National Gallery in Washington. Mr.
John Walker, Director of the Museum has com-
mented on the miniature masterpiece (a mere
eight inches by six) that 'the National Gallery is
indeed fortunate to have acquired one of the

rarest and most important paintings to becom
available in recent years. The small size of thi
painting only adds to its charm; the enchant
ment of the unfolding landscape, the delicac;
and dignity of the figures, all contribute to itS
elegant and poetic quality.'

The author of the ravishing little scene was o
Baltic origin, but of the Flemish School b]
training. Probably a pupil of Memling, Migue
Sithium, also known as Michel Sittow ant
Master Michiel (c. 1465/70-1525) worked at th<
court of Isabella of Spain and later at that o
Margaret of Austria and finally at the court o
Denmark. The peripatetic artist, about whon
so little is known, certainly surpassed himself n
the Assumption and we must be grateful indeet
that it should have been so highly appreciate*
by the contemporaries for careful records tl
have been kept, establishing its identity, ant
that of the companion panel, beyond any doubt

That this was by no means a matter of course
even for works of superlative excellence is madi
evident by the second master work reportec
upon here : a splendid portrait of A Knight of thi
Golden Fleece, recently donated to the Washing-
ton National Gallery by Mr. Arthur Sachs, ar

212

nerican residing in Paris. This impressive like-
ss of a great nobleman — collars of the Golden
,-ecc were, it will be recalled, the privilege of
exalted few, generally royal — is thought to be
companion to a Portrait of a Woman in the
enna Museum, but the name of the painter, like
at of the sitter, still remains a matter of con-
•turc. This in spite of the fact that the painting
s been on view at the Louvre, the Fogg Art
useum, the Detroit Institute, the Carnegie In-
tute, and the Santa Barbara Museum. An
knowledged masterpiece, it was described, at
e time of its inclusion in the exhibition of
ench Gothic art in Detroit in 1928, as follows:
his extraordinary portrait was formerly attn-
itcd to Fouquet, but from the costume —
jund 1480 — it would seem to be one of his
est works, or that of a master of a somewhat
er date. It comes nearer to the Maitre de
oulin, although among his portraits there is
>ne of such breadth of composition and gran-
ur of pose. The late Max J. Friedlander, one of
e most respected authorities on fifteenth-
ntury Northern European art, spoke of the
inting as being "impressive, conceived in great
fie, the work of an important French Master
orking around 1480".'

One must comment also on the truly regal
nplicity and modesty of the model, in pose,
pression and costume — a significant detail:
e collar of the greatest of all noble orders, in
hich even reigning sovereigns took pride, is

cast in almost total shade: something the artist
would never have dared conceive on his own,
and which we may well think to have been
done at the express request of the wearer.
Given the rank of the sitter, it is indeed puzzling
that his identity, and that of his artist, should
have remained a mystery after receiving the
attention of eminent scholars and of a wid<
public on both sides of the ocean.

The generous donor, Mr. Arthur Sachs, a
former partner of Goldman Sachs and Co., in-
vestment bankers in New York, was the
brother of the late Professor Paul J. Sachs, of
Harvard University, whose recent death has
been such a loss to the American art world.

Bernard Laniotte Shows in Palm Beach

FERNAND CORMON, a competent but dull
academician and a member of the Institut de
France, may be said 'to have had his cake and
eaten it too' for he held a post of great honour
during his lifetime and in addition secured a
niche in history as the teacher of several pupils of
genius: Toulouse-Lautrec, Van Gogh, Gauguin.
An unexpected link with this apparently
fabulously removed past — only yesterday, as a
matter of fact — is established when we learn
that Cormon was also the teacher of Bernard
Lamotte, one of France's most distinguished
present-day painters. Mr. Lamotte, who was a
member of Professor Cormon's last class is
renowned as much for his excellent easel

Bernard Lamotte. Faubourg St. Honore — 14th
July. 40 X 30 in. Included in a recent exhibition
at the Palm Beach Galleries, Palm Beach,
Florida.

/ory casket. Italian, late fourteenth to early fifteenth century. School of Embriachi. Collection of Mr. and Mrs. Owen K. Murphy, Stuart, Florida.

213

Above. Henri Berlewi. Cellule essentielle tridimensionelle de la Mekano-Faktur, 1963. Below. Julio le Pare. Continuel-lumiere. Groupe de Recherches d'Art
Visuel de Paris Labyrinthe 3 — on view at The Contemporaries, New York.

the lure of easy publicity and continues to paint
with the same wit, grace, and lucid elegance as
his great forerunners. There could be no greater
praise for Lamotte than to comment that his
'14 Juillet' is able to hold its own next to Manet's,
famous Les Drapcaux, both in mastery of tech-
nique and distinction of mood. A happy fmd,\
and of course a painterly tour-de-force, is the!
effect achieved of the Stars and Stripes gleaming
through the transparent etamine of the Tricolor.

Rare Embriachi Casket in Private
Possession

THE source of inspiration for subject matter of:
the famed 'Embriachi' ivories is many and'
varied: the mediaeval 'chansons de geste', the J
lays of the troubadours, and beyond these the]
archaic legends, with roots so deep within the ]
common fund of unrecorded history that they *
can never be traced. Yet scholars have lavished

works as for a series of noted murals executed
for the White House swimming pool a few
years ago, for a number of homes of prominent
American families, for the Ballet Russe Com-
pany, for Bourgeois Perfumes and for the new
Shell Building in London. He has exhibited in
foremost galleries both here and in Europe and
his works are to be found at the Musee d'Art
Moderne in Paris, the Musee du Luxembourg,
the Tokyo Museum, and the Museum of
Modern Art in Los Angeles.

The painting shown here Faubourg St.
Honorc — 14th of fitly was included in a recent
show of the artist's easel work at the Palm
Beach Galleries. Although easily the 'clou' of the
show, this fine painting was companioned by a
group of forty-eight oils of the same unflinching
quality: a brilliant and overwhelming demon-
stration of the justly earned rank of this honest
and original artist who has never succumbed to

214

ires of patient erudition in the search:
dc, the learned article by Mary Alice Wyman
i the Art Bullciiii of March 1936, titled, 'The
elyas Legend as represented on the Embriachi
■ories at the Metropolitan Museum of Art', as
ell as the work of her predecessors Diego
int'Ainbrogio and Julius von Schlosser. But,
nportant and in many respects interesting
, these discussions are, it remains that to the
rneral viewer it is the aesthetic beauty of the
•ork that matters most, and his ignorance of
ie tale docs not keep him from enjoying the
tamatic pageant unfolded before his eyes in
ie series of small panels, with background of
enellated battlements, arched doorways, and .1
ylizcd rendering of the rocky countryside of
forthern lt.iK and its unmistakable umbrella
ines, among which a cast of vividly character-
ed personages act out, with startling dramatic
npact, scenes of great moment. The intense-
,-ss is such, in fact, that the miming approaches
ie solemnity ot a sacred dance.
The creator of this strong and original form of
t w as Baldassare degli Embriachi, an Italian
obleman of the late fourteenth and early fif-
enth century, who united in his person two
Idom joined distinctions, being both 'a gentlc-
lan of wealth and influence' and a master
rorkman of the first order. The records of the
.'ertosa in Pavia indicate that the two coffers
lere (of which the panels later were mounted to
>rm the great screen at the Metropolitan
luseum) were purchased on or before February
oth, 1400, and Miss Wyman (op. cit) ex-
ressed the belief that these seem to have been
uended 'for the use of the founder, Gian
ialcazzo Visconti, Duke of Milan, and his
."cond wife Catherine ... to hold expensive
sremonial accessories which it would have been
iconvenient to transport frequently from
lilan. The duchess' headdress, for example, her
eil, slippers, golden book of prayer, the official
ap and collar of the duke, and his slippers
ecorated with jewels may have been among
ae treasures of these coffers, which functioned
ius, true to type, as "le meuble par excellence
u Moyen-Age".'

On these costly pieces intended for such
xalted use, an artisan who was also an artist of
o mean stature, expanded in turn all his
reasurcs of taste and imagination, and carried
ut his designs in the most precious and rarest
taterial available : the teeth of hippopotami
for the more 'common' work, Embriachi at
imes was content to make use of a species of
omestic white bone, obtained from horses and
attle). This precious material was also durable
nd in most instances has outlived the wooden
rame in which it was encased, for if mediaeval
urniture of oak has weathered five centuries, the
ame could not reasonably be expected of the far
ighter setting of Embriachi's delicate work, not
inworthy of an age of such artistic richness and
ubtle splendour when cathedrals were chiselled
>ut of marble like giant jewels and jewel caskets
lad the architectural dignity of naves.

It is in fact the age of Cimabue and Giotto
hat revives before our eyes in the Embriachi
vories at the Cluny Museum, the British
Museum, the Metropolitan Museum in New

York, and other art museums (Ravenna, Turin,
etc.). Another noted example is that formerly in
the possession of H. H. Gibbs, Baron of Aldcn-
ham, Tyntesfield, Somerset, England (generally
referred to as 'the Somerset casket'), while the
coffer illustrated here, with its beautiful series of
both illustrative and decorative panels, is now
part of the collection of Mr. and Mi s. Owen Is .
Murphy, of Stuart, Florida.

While the currently accepted form of the
originator's name is 'Embriachi', it should be
noted that a fourteenth-century codex in the
Library of St. Mark's, Venice, is marked 'Questo
libro e di Baldassare di Simone degli Ubriachi di
Firenzi'. Florence, therefore, was the great
artisan's home town, and his name also appears
elsewhere as Ubriachi. Baldassare himself
worked in Venice and Florence, but much of the
work of his school was done in fourteenth-
century Piedmont, where Molinier traced mixed
influences of both the French and Italian style. (E.
Molinier, Les Ivoires, Histoire Generale, I, p. 207.)

The Foundations of 'Op' Art

THERE is no surer way to kill an art movement
than the frenzied avalanche of publicity that has
become the automatic reaction as a symptom of
our 'culture explosion". This may be looked
upon as poetic justice of a sort. 'Pop' art was the
first victim (?) and not all of us are wearing
mourning. But if 'Pop' art is already in rigor
mortis, it is feared that, as a result of the same in-
human treatment, 'Op' art may be in serious
danger. This is not likely, however, in the
opinion of those best informed, as 'Op' is made
of far sterner stuff than the bizarre extrava-
gances of 'Pop'. You may or may not like it, but
you can hardly deny either its importance or its
illustrious and far-reaching lineage (the orna-
mentation to the Book of Celt, and the Vincian
knots are the first examples to come randomly
to mind). Yet the show devoted to 'Op' art
earlier this year at the Museum of Modern Art
in New York— and titled, rather pretentiously
it was thought, 'The Responsive Eye' — met
with mixed reactions. Without entering into the
sensational aspects of the affair (women fainting
at the opening, etc.) and the plethora of side-
shows that mushroomed simultaneously: Laby-
rinthe 3, at The Contemporaries, New York,
where the viewer was led from one compart-
mented chamber of horrors into another by
means of narrow winding corridors, including
one 'passage accidente' (i.e., a resilient rubber
floor, the bouncing of which presumably was
held to contribute some intangible element to
the nauseating giddiness of the jittery exhibits);
or an attempt at the Newark Museum 'Optical
Quilts', to convert 'the little old lady quilt-
makers of Asbury Park and Albany' into avant-
garde artists — leaving all this aside, there re-
mains little doubt nevertheless that the show at
the Museum of Modern Art was on the whole a
pompous flop. Whether one agrees or not with
Marcel Duchamps who remarked that the
owners of these works of art would derive little
pleasure from them since the collectors are
obliged to turn the canvases towards the wall to
escape sea-sickness, the exhibition would at
least have commanded serious attention had it

Hard-paste Meissen clock, mounted in ormolu.
Modelled by J. J. Kaendler. Height 13 in.
Marked with crossed swords in underglaze blue.
Circa 1745. In the possession of Stair and Co.,
New York.

offered to the public at large a complete review
of 'op' art from its beginnings to the present
state. But the emphasis was placed undeniably
on the daring young moderns who, in prepara-
tion very likely for space voyages, cause our
poor heads to turn with their frantic gyrations
and distortions. (According to this advance
test, few of us will qualify for the capsule to
Mars or Venus . . .)

What about the great ancestor, Mondrian,
for one, or such pioneers as Henri Berlewi, the
'Father of Mekano-Faktur', represented in the
show merely with a Construction in Six Squares
of 1963 when instead an interesting and instruc-
tive comparison could have been made by
showing both one of his early 'Mekano-Faktur'
constructions of 1922/23 (for instance, the fine
example in the collection of the Musee d'Art
Moderne in Paris) and so significant a work as
his great cellule essentielle tridimensionelle of
four decades later. Lack of space does not allow
us to enter into what might be termed the meta-
physics of Mekano-Faktur, but even an un-
trained eye cannot help but sense at once the
solidity and genuineness of a style that under-
went so profound an evolution: the first work
almost archaic, one might say hieratic, in its
denuded simplicity, while the second, infinitely
supple and complex, lives indeed a cellular life
of its own, frightening in its potentiality for un-
predictable growth.

It is in such serious-minded efforts, rather
than in the pyrotechnics of Vasarely, to choose
but one example at random, that the faithful of
true 'Op' — and they are many and formidable —
find their strong foundation for what 'may be' —
to quote John Canaday, the eminent critic of the
New York Times — '(and I firmly believe that
it is) potentially the most important develop-
ment in several decades'.

215

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2l6

n outstanding balloon clock and bracket in
(mellow satinwood decorated en grisaille, the
(movement by vulliamy. Circa 1795

(Height overall 24 inches
H Width at base 13 inches

fine Adam period carved wood and gilt mirror.

■ Circa 1775

I Height overall 56 inches

I Width overall 29 inches

I Height of plate 26 inches

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8-10 HANS ROAD, KNI G HTSBRIDG E, LONDON, S.W.3

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A circular, late Sheraton, mahogany 'Musicians' Table' for an octet
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A very important pair of early George II Wine Coolers
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Oil Painting
A I iew of Chateau Huy on the Meuse
by WILLIAM MARLOW (1740-181 3)
Signed

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The Connoisseur

AUGUST 1965

The Cult of the Contemporary
The 'seriousness' of Japanese armour collecting
Swiss majolica from Winterthur
Centenary of a Minor Master

Drawings by Degas in English public collections: 4
A golden tower in the Hindu Kush: the Minaret of Djam
A few recent accessions to the Ashmolcan Department of Eastern Art.
Oxford

Diderot, first of the art critics

Barbara Hepworth — at the Rietveld Pavilion, Kroller-Miiller

Museum JOH
The svmbolism of the Israel Museum at Jerusalem
Drawings by W.J. Muller (1 81 2- 1845)
The Connoisseur's Diary
In the Galleries
Paris Dispatch

Prints in the Modern Manner
Books Reviewed
Book Production Notes
Books Received
The Art Market
International Saleroom

Vol. 159 No. 642

CLAUDE BLAIR
ROBERT L. WYSS
DENIS THOMAS
RONALD PICKVANCE
GEORGINA HERRMANN

PETER C. SWANN
GERHARD WEBER

N L I TZ MAURICE MILLS
PIERRE CABANNE
ARNOLD WILSON

ADRIAN BURY
GERALD SCHURR
ALASTAIR GORDON

RUARI MCLEAN

DAVID COOMBS

The American Connoisseur

Colifichets — Embroideries on paper

English silver in an American company museum: 2

The Connoisseur in America

© August 1965. National Magazine Company Limited

On Cover

Pierre Auguste Renoir. La femme a la Hose, canvas, 32 x 25^ inches. Signed Renoir at lower left.
Bibliography: Recorded and illustrated in Julius Mcier-Graefe, Renoir (1929, p. 428, No. 390),
illustrated in A. Andre and Marc Elder, V atelier de Renoir (ed. Bernheim Jeune), Vol. II. 193 1, No.
529, pi. 165. This painting is in the possession of Acquavella Galleries, Inc., 1 19 East 57th Street.
New York.

Colour Plates

Modern reproduction of a great Japanese armour of the late Heian Period (late twelfth century)
Swiss majolica plate decorated with spiral border of blue foliage in the form of hearts, plate painted

with a representation of Summer, third quarter of the seventeenth century.
/;/ the Historical Museum, Berne.
The Minaret of Djam, Afghanistan

Ciborium, of which the bowl and foot have been brought together after being separated for nearly

two hundred years.
Colour illustration by courtesy oj Mr. R. A. Lee.

217
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England. Managing
Directot : Marcus Morris

Addresses:
Editorial and
Advertising Offices:

Chestergate House,
Vauxhall Bridge Road,
London. S.W. 1 .
Telephone Victoria 2331 1

Circulation Office:

1 5 Lower Grosvenor
Place, London s.w. 1 .
Telephone Victoria 1591 j

Advertisement
Representation in
France:

Agence

Franco-Europcenne,
69 Rue d'Amsterdam,
Paris, 8e.

Dir< ctor: Jean Gerard
Telephone: Trinity 84-82J
65-44

Advertising Director
for the U.S.A.:
Boleslaw Mastai

21 East 57th Street,
New York, N.Y. 10022
Telephone
Eldorado 5-7395

American Circulation
Office:

The Connoisseur,
250 West 55th Street,
New York, N.Y. 10019
Telephone Plaza 7-5020

Circulation Information.

Great Britain. Single copy price 10s. Annual subscription jQ6 15s. od. (postage paid). Subscription may be booked from your local bookseller or direct through Th
Belgravc Library, 22 Armoury Way, London, S.W. 18. Notification of change of address should be sent .it least four to five weeks before publishing date.
U.S.A. Single copy price S2. Subscription price U.S. and possessions and Canada $18.00 for one year (12 issues) S34 for two years (24 issues). All other countrie:
S21.00 for one year, S40 for two years. Single copies may be obtained by sending your order with remittance to the New York Circulation office. Subscription ordci
should be sent to the New York Circulation office. Notify The Connoisseur Subscription Department, 250 West 55th Street, New York 19, N.Y., of any change c
address and give the old address as well as the new, with postal zone number if any.
Early consideration will be given to MSS accompanied by suitable photographs. Although due care is taken, the publishers do not accept responsibility for MSS c
photographs which must be submitted at the owner's risk. The Editor's decision is final in all editorial matters.
Second class postage paid at New York, N.Y., U.S.A. Printed in Great Britain.

The Connoisseur, August, 1965

11

MENT TO HER MAJESTY THE QUEEN, GOLDSMITHS AND CROWN JEWELLERS, GARRARD AND COMPANY LIMITED, LONDON.

GARRARD

the Crown Jewellers

This pair of George II candlesticks, 84" high, was made by
Paul de Lamerie in 1741. They currently form part of the
Garrard collection of antique silver : a collection that is
always changing, and always well worth inspection.

GARRARD AND COMPANY LIMITED, 112 REGENT STREET, W.l • REG 7020

Our contributors
in this issue include :

Robert L. wyss, Director of the Historical Mus-
eum, Berne.

claude blair, Assistant Keeper, the Department
of Metalwork, the Victoria and Albert Museum,
art-historian of arms and armour.

ronald pickvance, Regional Arts Officer, the
Arts Council of Great Britain.

pierre cabanne, Paris correspondent of a num-
ber of leading German art journals.

carl christian dauterman, Associate Curator of
Western European Art, the Metropolitan Mus-
eum, and a foremost exponent in America of
antique silver.

Arnold d. wilson, Curator of the Department of
Art, the Bristol City Art Gallery.

i

Next

month in

The Connoisseur

The September number of The Connoisseur, the international
art magazine designed to meet the tastes and requirements of
its readers, will include the following contents :

John Hunt, widely known in Ireland for his researches into
Irish history and architecture, describes, with colour and;
monochrome, the elegance and contents of Lucan House near
Dublin, eighteenth-century residence of His Excellency
Baron Winspeare Guicciardi, Italian Ambassador to the
Republic of Ireland, and Baroness Guicciardi.

Robert L. Wyss, Director of the Historical Museum, Berne,
writes on and illustrates in colour some of the little known
Meissen porcelain in his Museum.

Georges S. Salmann writes on 'first stages' in starting a collec-
tion of antique bronzes, with particular reference to an English
private collection started five years ago.

Yvonne Hackenbroch, Associate Research Curator of West-
ern European Arts, the Metropolitan Museum, continues her
important series of studies of antique jewellery with a fully
illustrated article Renaissance Pendants after designs by Jost
Amman.

Douglas Hall, Keeper of the Scottish National Gallery of1
Modern Art, writes on a unique exhibition to be held dur-
ing the Edinburgh Festival - the work of the late Giorgio
Morandi, supplemented by the whole collection of the
artist's work belonging to Professor Luigi Magnani of
Parma and four paintings from the collection of Signorina
Dina Morandi. The collection will eventually become the
property of the Italian nation. Other exhibitions of the
artist's work are imminent in Berne and Venice.

F. A. B. Ward, Keeper of the Department of Physics, the/
Science Museum, London, rediscovers, in an English country
house, an outstanding domestic clock — the Metzker clock
formerly in the Felix Collection and lost sight of since 1886.

Hans Huth, formerly Curator of Decorative Arts, the Art
Institute of Chicago, describes and illustrates 12 masterworks
in the Kunstgewerbe, Berlin.

Also, in addition to all the regular features — International
Saleroom, Paris Dispatch, Art in the Modern Manner, the best I
reviews of all the new art books — Connoisseur will give the]
widest coverage of any English language art magazine tol
exhibits (to be seen and bought) at the Florence Antique
Dealers' Fair (September 18 — October 18), at which Con-
noisseur will be represented.

By Appointment
to H.M. Queen Elizabeth
The Queen A lot her

By Appointment
to H.Xf. Queen Elizabeth II
Jewellers

By Appointment
to the late Queen Alary

138 REGENT STREET, LONDON, W.l

AND AT LLANDUDNO

mm

Selected items from our collection of eighteenth century English diamond jewellery

Photographed actual size

LONDON

69 Upper Berkeley Street,

Portman Square, W.l

Telephone: PADdington 6595
Cables: Vivantique, London W.l

D.M.b-P.

MANHEIM

Members of The British Antique Dealers'' Association Ltd.
and Art and Antique Dealers' League of America

NEW YORK

46 East 57th Street,
New York 22, N.Y.

Cables:
\ is antique. New York

EARLY DERBY
PORCELAIN Circa 1760

Pair of fine, large models of
stag and doe courliant. with
bosques of green leaves and
vellow -centred white flowers.
Pale red-brown marking on
bodies, and yellow applied
flowers on base. Note size:
1\ in. and 6^ in. high
respectively.

N.BLOOM&SONs

iO Albemarle Street 'Piccadilly 'London Wf

May fair 5060

AX ATTRACTIVE 18th CEXTIRY
SCOTTISH SILVER EPERGXE

fully hall-marked and in perfect condition
date 1795: Edinburgh: maker's mark C & M
weight 97 ounces: length overall 24 inches: height overall 18 j inches

The Connoisseur, August, 1965

VI

A SMALL EARLY 18TH CENTURY SIX-BRANCH CHANDELIER

Owing to the various changed methods of lighting, chandeliers for candles suffered
heavily on the scrap heaps of the Victorians and carved wood examples have become the
rarest of objects. Made during the reign of the earliest George the central stem of this
chandelier is wood, carved and gilded, with six gilt metal candle-holders fitted into
truss brackets. The few genuine examples known are of palatial proportions and this
must be one of the smallest on record.

Circa 1720. Overall height 22£ inches. Width 25 inches.

RONALD A. LEE

R. A. Lee R. T. Gzvvnn

The Manor House 1-9 Bruton Place

Byfleet, Surrey London W. 1

Tel. Byfleet 43346 Tel. May 5600

(BY APPOINTMENT)

255 KING'S

Telephone : FLAxman 0644 , 1
Memb'ers ofjH

FINEST EIJ

English - Mid-eighteenth Century
A magnificent carved wood and gilded wall mirror of important dimensions
Maximum dimensions: Height 7 ft. 4 in. Width 4 ft.

We acquire through enterprise with discrimination.

We restore through expertise to perfection.

FOR Y

, D.

A LONDON, S.W.3

bit's: JEREMIQUE, LONDON, S.W..1

Association Ltd.

H FURNITURE

w Louis XVI taste W

Maximum dimensions: Width 3 ft. 9 in. Depth 1 ft. 0\ in. Height 4 ft. 8 in.

appreciation.

We discuss with knowledge for

c sell wi

ood-will.

William IV silver by Paul Storr

I. FREEMAN & SON

LIMITED

LONDON

CITY SHOWROOM

18 Leather Lane, E.C.I
Holborn 4633

NEW YORK

NEW YORK SHOWROOM

12 East 52nd Street
Plaza 9-6900

William IV tray
by Paul Storr
London 1834
212 oz.
Length 24 in.
Width 18 in.

Pair of William IV
entree dishes
by Paul Storr
London 1832/3
170 oz.

DELOMOSNE AND SON LIMITED

The Connoisseur, August, iq6s

X

A French Repeater-Strike Carriage Clock with alarum
and day-date calendar. The case of red and yellow
gilding. 6^" high excluding handle,4" wide,3J" deep
AFrenchCarriageclock,Grande-Sonnerie Alarum with
phases of the Moon and perpetual calendar (Day
date and month). English case of bronze and gilt'
; high excluding handle, 4|" wide, 4" deep.

By Appointment
to H M. The Queen
Silversmiths
& Jewellers.

ASPREY & CO. LTD • 165-169 NEW BOND ST • LONDON W1

ASPREY IN THE CITY. The City
Man will find a usefully close-at-
hand service at Asprey and Birch
& Gaydon, 153 Fenchurch Street
where, besides the comprehensive
stock held, any pieces can be sent
from Bond Street at short notice.

HYDe Park 6767

MARTA SAMPSON

183b KINGS ROAD, CHELSEA,
LONDON S.W.3

FLAxman 5522

Antiques and Interior Decorating

Well proportioned Georgian Mahogany Bureau Book-Case,
third quarter of the 1 8th Century.

Width only 2 ft. li in. Height 6 ft. to in.

THE
FIFTEENTH
NORTHERN

fair

THE ROYAL HALL
HARROGATE

THURSDAY 9th SEPTEMBER until
THURSDAY 16th SEPTEMBER 1965

To be officially opened by

Viscount Lambton, M.P.

0/1 Thursday gth September, at 2.30 p.m.

ALL EXHIBITS ARE FOR SALE
AND ARTICLES SOLD WILL BE
REPLACED DAILY

Open daily from 11 a.m. until 7 p.m. (excepting
Thursday September yth and Tuesday September 14th
when the Fair will remain open until 9.30 p.m.)

The Fair will not be open on Sunday September 12th

ADMISSION
First day Five Shillings
Other days Three Shillings and Sixpence

The Connoisseur. August, 1965

XII

SPECIALISTS IN FINE PORCELAINS OF THE 18th CENTURY, FAIENCE & MAIOLICA

Telephones:
KENsington
5272 & 3793

Cables:
PORCEL1QUE
LONDON, S.W.3

156 BROMPTON ROAD
LONDON, S.W.3

STAND No. 6,
NORTHERN ANTIQUE DEALERS' FAIR
HARROGATE, SEPTEMBER 9-16

STRASBOURG FAIENCE, c. 1760-1780
Marks and Period of Joseph- Adam Hannong
7S in. high, total width 1 2 J in.

FINE TAPESTRIES
SAVONNERIE and AUBUSSON CARPETS
NEEDLEWORK and BROCADES
ENGLISH and FRENCH FURNITURE

(Member of B.A.D.A.)

A 19th Century Aubusson
rug on old rose ground,
with bouquets of flowers
all over and central floral
motif. 6 ft. 5 in. x 6 ft.

70 SOUTH AUDLEY STREET
LONDON, W.I

Telephone: HYDe Park 5288

and at 36 HIGH STREET. OXFORD
Telephone: Oxford 44197

XIII

SHOWCASE

Meissen dog and a pair of French pug-dogs.
circa i $40.

GAY ANTIQUES

Fine Porcelain and Silver

1 BEAUCHAMP PLACE

LONDON S.W.3 Knightsbridge 9615

A tine Louis XV
chased ormolu
cartel clock with
pierced grill
panels. The while
enamel dial is
signed

CRONIFR A
PARIS.
(Circa 1 730).
21x9 in.
Illustrated clock
catalogue price
25/--

Philip & Bernard DOMBEY

174 KENSINGTON CHURCH STREET
LONDON, W. 8 DAYs\vatcr7ioo

Fin de siecle bronze. Signed ' R. Schwarz,
Munich' 11 in. high. 9i in. long, 6'i in. wide

INGRAM WARWICK Ltd

Antique Lovers Coterie for Jewels & Objets d' Art

6 SOUTH MOLTON STREET
LONDON W.i Mayfair 4388

Specialists
in

Antique
Clocks

CHARLES FRODSHAM & Co.

173 BROMPTON ROAD Ltd.
LONDON S.W.3 Kensington 1073

t

A George III
silver
sweetmeat
basket,
length 4I in.
by Henry
Chawner,
170.

Price £55.

HILTON GALLERY

3 ST. MARY'S PASSAGE
CAMBRIDGE ( ambridgc 568S6

English and lri>h decanters late tSth and
early 19th centuries

LLOYDS

16 MOTCOMB STREET

BELGRAVE SQUARE

LONDON S.W.I Belgravia 1010

An

unusual
pair oj
ebonised
and

giltwood
Regency
torcheres

"XT
I

)

A

*4

DAVID CLEGG Ltd.

S3 HIGH STREET SOUTH
DUNSTABLE

BEDFORDSHIRE Dunstable o;s;s

S - - *

A fine Charles II carved wood and silvered
mirror, circa 16S0. Height: 36 in. Width: 30 III.

DAVID TRON

275 KINGS ROAD

LONDON S.W.3 Flaxman 591S

A line Louis XV style tulipwood and
ormolu mounted commode. 4 ft. wide.

C. P. BURGE

162 SLOANE STREET

LONDON, S.W.I Sloane 4240

and at Kingston a id Thames 1 litton, Surrey

I Sth century Chamberlain Worcester green
ground teapot

Specialists in 18th and Early lyth
Century English Porcelain

BUCKINGHAM ANTIQUES

THE OLD VICARAGE. CHETWODE
Nr. BUCKINGHAM Finmere 429

German 1 ~th Century repousse bronze
plaques. Signed Godefrid Finckcnberg.
24 cm. X 23 cm. Price £,0,3 pair.

PETER FRANCIS

(Member B.A.D.A. Ltd.)

37 BEAUCHAMP PLACE

LONDON S.W.3 Kensington 4243

—

N

A fine
George III
Antique
Silver
Loving Cup
London
Hallmark
1S09

HICKLENTON & PHILLIPS

90 CHEAPSIDE

LONDON E.C.2 Xear The Mansion House

V;

I 'ery n
solid S,

sticks
C.eorg
IS

\ lain
/ . Cr<H

R. E. PORTER

Jewellery, Silver, Antiques

2 and 4 POST OFFICE ROAI

BOURNEMOUTH, Hants.

Bournemouth 24289

The E
£i6s

One of a J
oj silveredl
carved woq
wall brack
Italian
tSth Cetm

Members (
The British
Antique
Dealers'
Association

HEATH-BULLOCK

24 MOTCOMB STREET
LONDON S.W.I Belgravial

8 MEADROW
SURREY

GODALMING

Godalinins

WE ALWAYS HAVE AN ATTR.i
TIVE COLLECTION OF Ol
TAPESTRY AND NEEDLEWCI

CUSHIONS.

E. B. SOUHAMI

6c PRINCES ARCADE
LONDON S.W.I

Regent •

ANTIQUE ENGLISH SILVER

GABRIEL SLEATH

Pair of antique double-lipped Sauceboats
by the great silversmith Gabriel Sleath
London 1736 George II

Height 2.\ in. Length 6] in. Weight 20 oz.

We shall he happy to answer your enquiries and to give you details of the Silver

from the Collection of

LOUIS WINE Ed

Fine Art Dealers, Jewellers and Silversmiths

31 & 32 GRAFTON STREET, DUBLIN

Established 1840

Tel: Oil Im 7.1865

XV

arrett & gxm Htu

9 OLD BOND STREET, LONDON W.i

(Nine doors from Piccadilly)

Hyde Park 1996

Oriental Ivory and Hardstone Carving

Connoisseurs and craftsmen in ivory carvings, jades
semi-precious hardstone carvings from the Orient
Established over a century as brushmakers in Ivory
and Tortoiseshell — single brushes or complete
dressing table sets

We also have a large collection of SnufT Bottles and
Netsuke and specialise in fine quality repairs and
restorations

Kwan Yin

e Goddess of Mercy
Solid ivory carving, polychromed
Height 1 7% inches

PRIDES of
LONDON LTD

A Georgian library step stool in faded mahogany,
the seat upholstered in old rose leather opens
to height of 45 inches (to the top tread)

179/180 SLOANE STREET, S.W.I

Tel: BELgravia 3080

The Connoisseur, August, 1965

XVI

KAPLAN GALLERY

6 DUKE STREET ST. JAMES'S LONDON SW1

WHItehall 8665

XVII

BIGGS

MAIDENHEAD

ESTABLISHED 1866
Members of B.A.D.A.

26, 28, 30, 32 HIGH STREET
MAIDENHEAD BERKSHIRE

TEL. (3 LINES) 22923, 26363/4

Charles II walnut table with drawer in the frieze

Height 2 ft. 4': in., width 3 ft. 0' in.,
depth 2 ft. o4 in.

Six showrooms ot antique furniture and
silver besides modern departments

Open all day on Saturdays

IN SAFE HANDS

Regardless of size or complexity you can rely on

Pitt & Scott to pack and forward to all parts of the world,

promptly, safely and economically.

Household removals to all parts of the world.

Write for brochure C 104

PITT & SCOTT LTD '

20-24 Eden Grove, London, N.7.
Teh North 7321 Telex: 21857

Storage facilities at London, Liverpool, Glasgow & Paris.

CHINESE

Collet's

GALLERY

ANTIQUE EMBROIDERIES AND KOSSU WORK

40 Great Russell Street, London, W.C.I.

(LANGHAM 7538)

14 DUKE STREET (1st Floor). St. James's. London S.W.1. WHItehall 1794
(Entrance. Mason's Yard)

Permanent Exhibition of Dutch 17th-century seascapes

RALPH COX

THE OLD GREETHAM INN
STRETTON, RUTLAND

(Great North Road)
Tel : Castle Bytham 340

Dutch
Oak cupboard
17th Century

Also at: 39 STEEP HILL, LINCOLN
Tel: 22463

COIN & MEDAL SPECIALISTS

Collections and rare pieces wanted
Catalogue of English Coins I4f9d including postage

A list of catalogues and other publications on request

B. A. SEABY LTD.

65 Great Portland Street, London W. I Telephone LANgham 3677

j. A. FREDERICKS

(Member of The British Antique Dealers Association)

Wishes to Purchase Old English Furniture

DORSET GALLERIES
49 DORSET STREET, BAKER STREET, LONDON. W.I Welbeck 8934

The Connoisseur, August, 1965

XVIII

□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□a

SIMON KAYE LTD

George III
silver epergne

Date 1784
Weight 113 oz.
Maker J. Young

Height 16.1 in.

Length to tips of
baskets 29 in.

Width to tips of
baskets 17 in.

Length of centre
dish 15 in.

Width of centre
dish 6i in.

Length of small
baskets 6j in.

Width of small
baskets 7>\ in.

IB

LONDON W.l

ALBEMARLE ST PICCADILLY

Telephone : hyde park 7658 and 5 1 52

□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□

BROMPTON GALLERIES

172 BROMPTON ROAD,
LONDON S.W.3
Telephone: Knightsbridge 5964

Fine quality 18th and early 19th Century
English and French Furniture
Fine Dinner and Dessert Services
Porcelain Plaques of
Derby, Worcester, Rockingham, Spode, etc.
Enamel Plaques by Henry Bone

WE ALSO WISH TO ACQUIRE
MINTONS PATE-SUR-PATE
AND WEBB CAMEO GLASS

Write or phone prompt personal attention

Incorporating C. L. NYMAN & CO. LTD.,
230 CAMDEN HIGH STREET, LONDON N.W.I

Telephone: Gulliver 1907
(Evenings: Maida Vale 9470)
Established 50 years

Illustrated: Pair of Superb porcelain plaques impressed 'Chamberlain Worcester'
In mint condition. Both 18 in. wide

The Connoisseur, August, ty6>

XX

BY APPOINTMENT ANTIQUE DEALERS TO THE LATE QUEEN MARY

MALLETT

MALLETT & SON (ANTIQUES) LTD., 40 NEW BOND STREET, LONDON W.l. TELEPHONE GROSVENOR 7411 (5 LINES)
AND AT BOURDON HOUSE, 2 DAVIES STREET, LONDON W.l

jgrgrgrgrgrgrggrgrgrgggggrgrgrgrgrgrgrggrgrgg

ST "
El
SI
SI
SI
SI
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51
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51

A very fine and unusual Louis XV kingwood cabinet with oval
marquetry reserves of excellent quality. It bears the partially obliter-
ated signature of Jean Francois Hachc (Hache a Grenoble) 1730-1 8oi .
Height: 40 111. Width: 36111. Depth: 16 in.

French furniture
and sculpture

Garden statuary
and furniture

51
51
51
El
51
51
51
51
51
51
51
51
51
51
51
51
51
51
51
51
51
51
51
51
51
Bl_

BSjlaElatlitalglEilaLgtEilalalliE

,M.\ I,. I , K- 1' l'

at

nourdon Bouse

Telephone: MAYFAIR 2444/5

Telegrams: MALETHOUS LONDON

2 DAVIES STREET • BERKELEY SQUARE • LONDON • W.l

ENGLISH FURNITURE— 40 NEW BOND STREET, W.l

XXI

The Connoisseur Register Advertisements

GALLERIES

FOR SALE

Dunning's Antiques. 1 0,000 sq. feet showrooms only 20 miles north of
London. Supply unusual decoration for Restaurants, Steak and Coffee
Houses, Tavern Bars. Amusing collections of Pub and Shop signs, Spirit
Barrels, Military Weapons, Sporting Trophies, Old Craftsmen's tools and
Nautical Instruments. 58 Holywell Hill, ST. ALBANS 51 065.

Haddonfield, New Jersey: Sanski Gallery, 50 Tanner Village. Fine
early American and European paintings, drawings and sculpture bought,
sold, restored.

Paintings: Oils and Watercolours : Illustrated lists free, delivery and
approval overseas. Old Hall Gallery, Ltd., Iden, Rye, Sussex, England.
(Tel : Iden 304.)

The Keyser Antique Galleries, Piccadilly Arcade, W.1. (Opposite
Burlington Arcade). Beautiful Furniture, Fine Porcelain Figures, Chelsea
and Meissen Birds, Oil Paintings.

WANTED

Antique Maps - Send for illustrated catalogue stating part of interest. |
P.J. Radford (C), Denmead, Portsmouth, Hants.

Old Prints, unrivalled selection on all subjects, also ORIGINAL;
DRAWINGS, RARE BOOKS and AUTOGRAPH MANUSCRIPTS.'
Callers by appointment only, telephone Ambassador 5439. Walter T.
Spencer, specialists since 1 856, 47 Upper Berkeley Street, London, W.1. \

Gauguin, Lautrec, Pissarro, etc. Catalogue of drawings and manuscripts
for sale. Anthony d'Offay, c/o : National Provincial Bank, 1 0 Marylebone
High Street, London, W.1 .

Whistler Oil, 'Eloise', three-quarter length £4,000. David Cox,
Derbyshire water colour, large, £350. Pewter tea-pot (fine condition) |
early 18th C. £50. Wedgwood items, etc. Please write Connoisseur,
Box No: 7325.

English Alabaster Fireplace: Believed to be the only one ever made,
at present in 17th century Farmhouse. Must be sold due to proposed
demolition. Contact Owners' Agents, E. P. Messenger & Son, 27 Sheep
Street, Bicester, Oxon. (Tel : Bicester2901 ).

Garrard The Crown Jewellers offer the highest prices for valuable items
of silver and jewellery. Experienced and totally reliable valuations at your
request to 1 1 2 Regent Street, London, W.1 . Regent 7020.

Wanted: Old Correspondence, 18th and early 19th century,
especially letters from overseas with postal markings of the pre-stamp
era, or with stamps. Col. A. Murray, Greenhill, Rownhams, Southampton.

Wanted: Russian Enamel Pieces, Write A. E. Turcone, 298 Broadway
Providence, R.I., U.S.A.

Wanted : Old, non-humorous legal prints, etchings, engravings of trials,
judges, court scenes, anything relating to judiciary or politics. Wanted
also bronzes of Russian cossacks. Write Hyder, 1 609 Oil & Gas Building,
Fort Worth, Texas, U.S.A.

Private American Collector Seeks Faberge. Send photos and cost.
Highest prices paid. Box No : 7322.

Wanted: Nazi, Fascist Relics, Edge Weapons. Write Peter Laboranti,
1 7 Hathaway, Garden City, N.Y., U.S.A.

Wanted by Private Collector OLD AMERICAN FLAGS (prior to 1 870).
Write B. Mastai, 21 East 57th Street, New York 22, N.Y., U.S.A.

Amusing Animal Paintings by Richard Ansdell, especially dogs and
monkeys. Photograph and price- Box No : 7324.

Old Silver and Old Sheffield Plate. Highest prices. Kingsbury Antiques,
59 Ship Street, Brighton (28058).

Napoleon. Portrait painted by great Flemish Master 19th C. 0.69 « 0.56
cm. to sell 200.000 B.Fes, to private, middlemen to abstain. Photograph
against payment of 1 25 Belg. Fes. Write : Mr. J. MAILLARD, 13 Rue de la
Madeleine, Brussels 1 , Belgium.

MISCELLANEOUS

Jolly's Auction Rooms, Old King Street, Bath, Somerset. New purpose
built rooms - 5,500 sq. ft. Frequent Pullman servicefrom London. Regular
fortnightly sales. Antique Furniture; Silver and Plate; Pictures; Books;
Porcelains, etc. Telephone Bath 3201 (4 lines).

School of Design & Decoration. The next ten-week concentrated
courses start on 1 st October.

The Lecture Course, supervised by Mrs. Michael Inchbald, covers all
aspects of period and modern Interior Design with lectures by experts on
the history and appreciation of art, architecture, furniture, silver and china :
practical sessions and visits to historic houses and designers' studios.
The Drawing Course gives practical training in drawing and designing
interior schemes, working at the drawing board under the supervision of
practising interior designers. Details and application forms from Inch-
bald School of Design, 10 Milner Street, London, S.W.3. Knights-
bridge 4456.

Hard-to-Find Books located thru world-wide contacts. Agents in
principal cities all over the globe. Book Land ling, 6631 Hollywood Blvd.,
Hollywood, Calif. 90028.

Register advertisements are 1/6 per word, minimum €1 for 15 words,
which must be prepaid and sent to the Advertisement Manager, THE
CONNOISSEUR. CHESTERGATE HOUSE. VAUXHALL BRIDGE
ROAD, LONDON, S.W.1 {Victoria 2331). Addresses or Box Numbers
must be inserted, and replies to the latter should be clearly marked with
the Box Number. The Proprietors of The Connoisseur accept no
responsibility for any sales effected.

XXII

A fine Irish satinwood Card Tabic with a marquetry banded top. Circa 1790
Height 31 in. Width 37 in.

Gerald Kenyon

FINE ART & ANTIQUES

36/37 SOUTH WILLIAM STREET, DUBLIN, 2

Dublin 73945

Also: H. Kenyon The Old Leche House Chester Chester 24742

XXIII

Cultural Exhibitions Ltd.

Directors: Beryl Davy, Vera Bird, Geoffrey Van, present the

FOURTEENTH ANNUAL

KENSINGTON ANTIQUES FAIR

PATRON: MRS. DAVID BRUCE

at the Town Hall. High Street, Kensington
2nd to 16th September

Enquiries: TTEStern 1580

11 a.m. to 8 p.m. daily, except Sundays

Admission 3/6 (opening day 5/-)

THE IVEAGH BEQUEST, KENWOOD

Hampstead Lane, N.W.3

SUMMER EXHIBITION

The Conversation Piece in
Georgian England

Until 19 September

Weekdays 10-7 Sundays 2-7
210 bus from Archway or Golders Green
Admission free

Collectors! Creaaurt-g

Very fine Buhl clock with musical box playing 6 tunes, c. I860

You are invited to inspect a wide variety of
antique and decorative objets d 'art

COLLECTORS TREASURES LIMITED

91 High Street, Amersham, Bucks. Amersham 2713

8-9 Church Street, Windsor, Berks. Windsor 60157

Binders for your Connoisseurs! And you can do

it yourself. Three Binders take a year's issues. Strongly
made, they are of red leather-cloth, with rounded corners,
the name The Connoisseur gold-blocked on the spine.
Price each 17s. 6d. ($2.54) inclusive of postage, packing
and insurance. Extra blocking on the spine for dates costs
an additional Is. 3d. (17 cents) per binder.

Order from

The Belgrave Library, 22 Armoury Way, London, S.W.I 8.

W tfmgate &Johnstonltlidl

■ Established i8ij

Head office :

39/45 FINSBURY SQUARE, LONDON, E.C.2
also at:

LIVERPOOL-MANCHESTER-SOUTHAMPTON
BELFAST - P.ARIS - NEWCASTLE - GLASGOW
TORONTO - NEW YORK - MONTREAL - LEEDS
LEICESTER

C0NNECTIN6 WITH A NETWORK OF RELIABLE AGENTS OVERSEAS

The Connoisseur, August, 1965

XXIV

WILLIAM WALTER (Antiques) LTD.

CHANCERY HOUSE, CHANCERY LANE, AND LONDON' SILVER VAULTS W.C.2

Telephone: Chancery 3248/49 Telegrams: Walter Silvavults London, W.C.2

ANTIQUE SILVER

Antique Silver American Tea Pot
date t.1789

by Simeon A. Bayley of New York
In very fine condition with
good marks

THE TOP SHOP

BRO A DWAY
WORCS
Telephone Broadway 2171

Rare early George I

WALNUT BAROMETER

by John Halifax of
Barnsley. The waist
centred by a circular
silver signed dial and
the base with a day
of the month dial.

3 ft. I I in. high.

In working order.

HENRY SPENCER

EES^E^^E & SONS ^^^^

ESTABLISHED 1840

Eric C. Spencer, C.B.E., M.A. (Cantab.), F.R.I.C.S., F.A.I.
Rupert W. Spencer, M.A. (Cantab.), F.A.I.
H. Michael Spencer, F.R.I.C.S., F.A.I.
L. M. Seymour. W. E. Peck, F.A.I. Harry C. P. Spencer, A.A.I.

of RETFORD, Nottinghamshire

Sales by Auction
of the Contents of Mansions and Country Houses

Sales of Landed Estates and Properties

RETFORD SALEROOMS

THURSDAY and FRIDAY, 9th and 10th SEPTEMBER
XVIII and XIX CENTURY FURNITURE
PAINTINGS. WORKS OF ART

Illustrated Catalogues 2/6d.

20 The Square, RETFORD, Notts.

Telephone 2531-4

XXV

One of a pair, Dutch 18th Century. 34 oz. I |i in. high.

Part of a four piece Russian Tea and Coffee Service by CARL FABERGE,
workmaster J. Rappoport.

LANGLOIS

AUCTIONEERS

WILL SELL ON

TUESDAY SEPTEMBER 14th, 2-30 p.m.

A COLLECTION OF ENGLISH AND FOREIGN
SILVER AND PLATE

The property of Mrs. N. G. McLEAN

The property of
the late MELVILLE S.WALKER, Esq.

including works by Wm. Cripps, Faberge,
De Lamerie, R. Abercrombie, Ed. Wakelin,
Thos. Heming, John Swift and Hester Bateman

On View Saturday and Monday,
the 11th and 13th September

Catalogue 5/- post free — 20 plates

London I746, by John Swift. I 3 oz.

Norwich, I690. 21 oz. 6} in. high.

LANGLOIS WATERLOO STREET JERSEY

Telephone: Central 22441

Telegrams: Estoril Jersey

LANGLOIS

AUCTIONEERS

will sell on Monday and Tuesday, 20th and
21st of September at 2-30 p.m. each day

A VALUABLE COLLECTION OF EUROPEAN,
ORIENTAL AND AFRICAN OBJETS D'ART,
GLASS, PORCELAIN AND FINE ANTIQUE
FURNITURE

The property of Mrs. N. G. McLEAN

including Oriental bronzes and Porcelain
of the Ming, Ch'ien Lung and other
periods, a fine Benin Bronze, 17th, 18th
and 19th Century Furniture including a
Queen Anne Secretaire cabinet, Queen
Anne lacquered gaming table, a pair of
18th Century Venetian elbow chairs, a set
of 4 Chinese Rosewood elbow chairs, etc.

On View from Thursday 16th September

A fine Queen Anne Secretaire Cabinet. Circa I7I0.

Catalogue 7/6 post free 25 plates

LANGLOIS WATERLOO STREET JERSEY

Telephone: Central 22441 Telegrams: Estoril Jersey

A Pretty Slipper by JOSEPH WEISER (signed)
Panel size: 12£ X 9 inches (32 X 23 cm.)
Framed size: 16£ X 13 inches (42 x 33 cm.)

The Water Mill by MAURICE LEVIS (signed)
Panel size: X inches (16 x 22 cm.)
Framed size: 8^ x lOf inches (21 x 27 cm.)

The Writing Lesson by j
Canvas sizli
Framed sis

M. NEM

Established 1870

43a Duke Street, St. Jamesi

Telephone: WHItehall 6068/9*

I (signed and dated)
H 90 cm.)
"A )6 cm.)

iN LTD

The British Antique Dealers' Association Ltd.

der Street, London, S.W.i

EWPIC, LONDON, S.W.I

■■ " v ' i

Fishermen by a River Bank by MAURICE LEVIS (signed)
Panel size: 6£ x 9i inches (16 x 24 cm.)
Framed size: 9x12 inches (23 x 31 cm.)

A Pinch of Snuff by JOSEPH WEISER (signed;
Panel size: 12 i x 9 inches (32 x 23 cm.)
Framed size: 16i x 13 inches (42 x 33 cm.)

HISTORIC HOUSES CASTLES & GARDENS

Britain's official guide to stately homes and gardens

from all leading booksellers or by post, 6s. from :

INDEX PUBLISHERS, St. Alphage House, Fore Street, London, E.C.2.

• enlarged 1965 edition

• 260 illustrations

• 98 pages

• 4-page map

75 wonderful colour plates

TUTANKHAMEN

200 black & white illustrations

TUTANKHAMEN

Published by The Connoisseur

TUTANKHAMEN

& Michael Joseph Ltd 60 s

TUTANKHAMEN

From booksellers or 63/- post paid from the
Belgrave Library, 22 Armoury Way, London, S.W . 1 8

The Connoisseur
is

published

mon

Price io -

thly

SUBSCRIPTION RATES IN BRITAIN
^6 15s a year including postage

IN U.S.A.

$18.00 tor 12 issues
S34.OO for 24 issues

The 12 issues include the Antique Dealers' Fair Number
Main Subscription Agents

The Bcl<jrave Library, 22 Armoury Way, London, SWiS

The Connoisseur, August, 1965

XXX

WILDENSTEIN

EXHIBITION

JOHN PETER RUSSELL

Australian Impressionist
1858-1930

In aid of the Art Gallery Society of New South Wales and an
Educational Organization nominated by the Commonwealth bj Australia

August

147 NEW BOND STREET, LONDON, W. 1

Mayfair 0602

Cyril Humphris

LTD.

MORTAR
Bronze
Height: 12 cm.
ROMAN. Early 16th Century

23 OLD BOND STREET, LONDON W.l

MAYfair 6240

XXXI

e/t//e& ess/
& /led fated

Perez

112 & 168 BROMPTON ROAD,
LONDON S.W.3

Telephone - KENsington 4411 (4 lines)
Telegraphic Address 'CARPEREZET'

also PARK STREET, BRISTOL
and AMSTERDAM

Bidjar, size 16 ft. 4 in. X 10 ft.
Ref: 52419

The permanent Exhibition Rooms at 112 Brompton
Road feature a large selection of Antique and Old Ori-
ental Carpets and Rugs, Tapestries, Aubussons, Savon-
neries and Needleworks.

Wall to wall carpeting and Broadlooms in exclusive
plain colours are available at 168 Brompton Road.

Perez (Contracts) Ltd. will attend to enquiries from
the trade.

P. H. GILLINGHAHI

Member: B.A.D.A. Ltd.
Antiques and Works of Art

LARGEST STOCKS IN THE SOUTH OF ENGLAND

Speciality: Old English Cottage Furnishing

CHERTSEY STREET 'LYNDHURST' LONDON ROAD

GUILDFORD GUILDFORD

Telephone: 5750 Telephone: 61952

4S ^SJovei <S%teme ^ons/ou '7^7
Hyde Park 47 1 1

NITA MILLER

FOR PERIOD LAMPS

63a Grosvenor Street, W.l . Mayfair 0951

LAMPSHADES CLEANED
OR RECOVERED IN A DAY

ONLY BY NITA MILLER

Antique Silver
Sheffield Plate
Antique Jewellery

HARRY
CHERNACK

of Edinburgh

85 ROSE STREET • PHONE CAL 3038

Member of The British Antique Dealers Association

Restoration

and conservation of the antique

Bronzes Ceramics Enamels Ivories
Jades Marbles Tortoiseshell
Snuffs Mother-of-Pearl Buhl
Ormolu Objets d'Art Furniture etc.

G. Garbe

restorers to the leading museums

23 Charlotte Street W.1

Founded 1 770 Te! : MUSeum 1 268

The Connoisseur, August, 1965

XXXII

CHARLES WOOLLETT & SON

(Members of The H.A.D.A. Ltd.

I'.xtrcmely rare Chelsea white Sauceboat modelled as a shell; crayfish handle
u illi a loop of coral; base formed as rockwork with shells and coral in relief.
Triangle period. 6i in. long. From the Tufnell Collection.

59/61 WIGMORE STREET, LONDON, W.I

Established 1889

Phi

Welbeck 866/

a

Ik

A Danish Silver Tankard
VIBORG dated 1662 by Morten Clausen
7j- in. high 27 oz.

H. S. WELLBY

Antique English and Continental Silver

16c Grafton Street, W.i

Member of the B.A.D.A. Ltd. Telephone: Hyde Park 1^97

ALLEGORY OF VANITY

Ivory, height 8} inches
by AMBROSIUS GALLE (Signed)
Flemish, Early 18th Century

DAVID PEEL

& CO. LTD.

2 CARLOS PLACE, MOUNT STREET
LONDON, W.I

HYDe Park 3161

WXIII

THE SIGN OF INTEGRITY

In Britain there are about 2,500 antique dealers; only some 550 belong to the British Antique Dealers' Association. Why the
apparent discrepancy ;

Because membership of the Association, which is given only after careful scrutiny, is rigorously reviewed every year to satisfy
the highest standards in expert knowledge and business conduct. It is strictly a condition of membership that members arc not
involved in any way in illegal 'ring' practices at auctions.

The British Antique Dealers' Association, founded in 191 8, exists to safeguard the integrity of an international trade expected
to be worth ^60,000,000 to Britain in 1965.

One of the Association's valued public functions is to act as the official authority for the Governments of Australia, the
Bahamas Islands, Canada, the Republic of Ireland, Jamaica, the Lebanon, New Zealand and South Africa in certifying imports
from Britain as properly recognised antiques. These items, certified by a special panel of experts in the Association to be antique
and substantially as originally made, are then free of import duty to these countries.

Last year r ,582 consignments totalling 3 1,992 items were examined by the B.A.D.A. for certification.

Individual antiques certified in recent years have ranged from modest pieces of Victoriana to a ^78,000 antique diamond
necklace.

THE BRITISH ANTIQUE DEALERS' ASSOCIATION

20 RUTLAND GATE, LONDON, S.W.7
Kensington 4128 & 2102

The Connoisseur, August, 1965

XXXIV

In London

Pair of George II
Irish Cast Candlesticks

Ik

Dublin circa I J 35

Maker : possibly John Moore

Height J\ in.

Weight J_/ o/.. 6 Jut.

tique English Silver

S. J. SHMUBBOLE

LIMITED

Old Sheffield Plate

LONDON 43 MUSEUM STREET W.C.l. HOLBORN 2712
NEW YORK 104 EAST 57th STREET PLAZA 3-8920
{ember of The British Antique Dealers' Association, Ltd. Member of The New York Antiques and Art Dealers Association, Inc.

i New York

et of twelve very fine
eorge III silver-gilt
hnner Plates

ondon 1 So6

laker : Hannah Northcote

)iameter 10% in.
Veight 2 ]Q oz.

ngraved with the coat
f arms and two crests
[Baron Grenville, co. Bucks.

Every month

studio international

defines a whole world of
modern art for the art lover, and all

who advise on, sell, collect or
invest in the works of modern artists

in every medium

AVAILABLE FROM GOOD BOOKSELLERS 6/- PER ISSUE

Annual subscription (£3-12-0) post free from the Subscription Dept.. Belgrave Library. 22 Armoury Way. London. S.W.18

The Connoisseur, August, 1965

XXXVI

m.

A magnificent pair of
Regency lead Lions of fine detail
From Elvaston Castle, Derby

T. CROWTHER & SON

DENYS WREY Ltd.

Members of The British Antique Dealers Association

45 SLOANE STREET LONDON S.W.I

Telephone: BELgravia 1813/14

Period Furniture Works of Art
Expert Restoration of Antiques

A late 18th Century cut glass Austrian Chandelier
of exceptional beauty, mounted on fire-gilt brass rings.
Overall height 41 in., overall width 34 in.

WE ARE ALWAYS ANXIOUS TO BUY FINE ENGLISH ANTIQUE
FURNITURE

drian galleries

HISTORICALLY IMPORTANT
20th CENTURY MASTERS

5-7 porchester place marble arch london W2

pad 9473

MONS & C

[E

TABLEAUX ANCIENS

LITtre 26-84 19 Rue du Cherche-Midi, Paris VIe

GRABOWSKI GALLERY

84 Sloane Avenue London SW3 KEN 1868

STANISLAW FR EN KIEL/OLIVER BEVAN Paintings

Open Mon to Sat 10-6

BROADWAY ART GALLERY, Broadway, Worcs.

Telephone Broadway 3237

Impressionist and 20th Century Paintings

SPANISH MASTERS

THE TRYON GALLERY LTD

41-2 DOVER STREET, LONDON, W.I HYDE PARK 5161

Sporting and Natural History pictures

SABIN

GALLERIES

4 Cork St., Bond St.
REGent 6186

Specialists in
English 18th Century
paintings and drawings

OMELL GALLERIES

22 BURY STREET ST. JAMES'S
LONDON S.W.I TRA 4274

FINE CONTEMPORARY and 19th CENTURY PAINTINGS

The Connoisseur, August, 1965

XXXVIII

THE LEFEVRE GALLERY

fca r.

k

XIX and XX CENTURY
FRENCH PAINTINGS

30 BRUTON STREET LONDON W1

Telephone: Mayfair 2250 Telegrams: Drawings, London, W.I

"Deux biches"
Constantin GUYS
Wash drawing
1 2^r 8i inches

GREGORY & CO.

(BRUTON STREET) LTD. ESTABLISHED 1823

27 BRUTON ST., BERKELEY SQUARE, LONDON, W.l

Telegrams :
Gregco, Wesdo London

ANTIQUES

FURNITURE

UPHOLSTERY

CUR TAINS

CAR PETS

C H AN DEL I E R S

Telephones:
Mayfair 2608/9/0, 2066

DESIGNS & SCHEMES
BOARD ROOMS
DIRECTORS' SUITES
DECO RA TI ONS
ELECTRICAL WORKS
H E A TING
VALUATIONS

A pair of early 19th Century Chinese hardwood screens inlaid with soapstoncs

Height 6 ft.
Width of each panel 1 ft. 6 in.

XXXIX

HOW

ANTIQUE SILVER

Miniature Tea Set
London 1785/6/7 By Samuel Massey

3 PICKERING PLACE, ST. JAMES'S STREET
LONDON, S.W.i

Telephone <Sl Telegrams: [VHItehall 7140

DUITS

LTD

Finest examples
of

iyth century Dutch Masters

6 DUKE STREET

ST. JAMES'S, LONDON, S.W.i

Telephone: Whitehall 7440

JULIUS BOHLER

OLD MASTER PAINTINGS
SCULPTURE ANTIQUES

MUNICH

Briennerstr. 25

TELEPHONE: MUNICH 55 15 29
TEL. ADDRESS: PAINTINGS

The Connoisseur, August, 1965

XL

JHPrr nlro^rh ' .«^nP-

ukav* i^uua "unaar uu&v

l l 11

59 fiw/ S/re<?/,
New York 22, N. Y. • EL 5-7620

Yow are invited to visit our shop
in Williamsburg at
WO Duke of Gloucester Street

MEMBER OF
NEW YORK
ANTIQUE AND ART
DEALERS'
ASSOCIATION

pair of fine quality Chippendale
mahogany open arm chairs with rose and

turquoise needlework seats and backs
England c. 1765

DAVID BLACK & SONS

1 Burlington Gardens,
New Bond Street W.l

BERNARD BLACK GALLERY

1062 Madison Avenue,
New York 21

(Associate: HUGUES W. NADEAU)

FINE ANTIQUE ENGLISH AND
CONTINENTAL SILVER
DRIFTS DF VFRTJJ 4ND WORK^ OF 4RT

AMERICAN PAINTINGS AND DRAWINGS
OF THE 19th AND EARLY 20th CENTURIES
SCULPTURE AND WORKS OF ART
OF ALL PERIODS.

Telephone: HYDe Park 3851

Telephone: Trafalgar 9-2171

We are always desirous of purchasing any of
tlie above-mentioned works of art.

City of Florence
Palazzo Strozzi
International
Antique Dealers'
Fair and Exhibition

4th Biennale: 18 September - 18 October 1965

Enquiries to the Secretary, Mostra Mercato Internazionale dell'Antiquariato,

Palazzo Strozzi, Firenze

The Connoisseur, August. io6_s

XLII

Pierre BONNARD

119 East 57th Street NEW YORK Tel: PLAZA 3-1296

THOMAS MORAN

Lancashire Village 1882

Oil on canvas 25 X 45 inches

Kennedy Galleries, inc.

Founded 1874 by H. Wunderlich

13 East 58th Street ■ New York 22, N.Y.

The Connoisseur, August, 1965

XLIV

Gallery Lasson

57jermyn Street London SWi Mayfair 6981

XLV

Fille de Cirque
by

GEORGES ROUAULT

Oil on paper, cradled 25j < 2O5 in.

HflmfllER GALLERIES te

51 East 57th Street New York 22 N.Y.

Telephone PL8-04I0 Cables HAMMERGALL, N.Y.

KNOEDLER

Established 1846

Old and Contemporary Masters

LONDON

34 St. James's Street
S.W.i

NEW YORK

14 East 57th Street
N.Y. 1002 2

PARIS

8 £ bis rue du Faubourg
St. Honore 8e

The Connoisseur, August, 1965

XLVI

BRUSSELS 16th CENTURY TAPESTRY

Landscape with Biblical scene. Large personage and small figures on donkeys going to Holy Land.
On one side, women carrying baskets of fruits probably destined for the King. In the lower center
two water pitchers and a basket of bread. Border with rare flowers and fruits.

Size: 10ft. 9 in. x 12 ft. 7 in.

lporters of Oriental and
iropean rugs, tapestries
d textiles

MAYORKAS BROS.

On Madison Avenue since 1907

3 MADISON AVENUE NEW YORK 21 N.Y. Tel. BU 8-8481 /8482

One of the largest selections
of semi-antique and period
rugs in the country; also, all
kinds of period tapestries

CABLES: MAYORKABRO New York

XI VII

MAXWELL
GALLERIES

PRESENTS A ONE MAN
EXHIBITION OF RECENT
OIL PAINTINGS BY
RAIMONDS

AUGUST 6-30

MAXWELL CJaM/md, ltd . est -^o

551 SUTTER STREET ^/SAN FRANCISCO. 6A 1-5193

Open aa-iy 9 33 am— 5 30 cm teiceoi Suns*/)

White Sail," oil on canvas, 25x22" by RAIMONDS STAPRANS

Louis X I />rtit

commode » "// /"/<
draner as writing
compartment.
Panels of
marquetry flou ei S
on sides, bark and
top. Bronze dore
sabots and

escutcheons.

Circa 1745.

Height 29\ inches,
it idth 15 inches,
tli pth 1 1 | inrhes.

RICHARD VHARE

Antiques Interiors

927 MADISON AVENUE, NEW YORK, NEW YORK 10021 (212) LN 1-6910

TROSBY

GALLERIES

n. r

AUCTIONEERS

OF PALM BEACH, FLORIDA
NOW ACCEPTING CONSIGNMENTS

FOR THE

1965-'66 AUCTION SEASON

EXPERT
APPRAISAL SERVICE ON
ART & PERIOD FURNISHINGS

OUR COMMISSION CHARGE ON ALL
MAJOR COLLECTIONS IS EXACTLY
TEN (10) PERCENT

For Appointment Please Write

TROSBY

INC.

APPRAISAL DEPARTMENT
211 ROYAL POINCIANA WAY, PALM BEACH, FLA.
CABLE TROSART
Telephone (Area Code 305) 833-1650 and 833-4101

MILTON E. FRESHMAN, President

The Connoisseur, August, 1065

XLVill

FRAGMENT OF A ROMAN PORTRAIT OF THE EMPEROR SEPTIMVS SEVERVS, 193-21 1 A.D.
THE UPPER AND BACK PARTS COMPLETED IN THE 16th CENTURY
FORMERLY IN THE DEL DRAGO COLLECTION IN ROME 15 INCHES HIGH

PIERO TOZZI GALLERIES

CABLES: PIERTOZZI NEW YORK 137 EAST 57th STREET NEW YORK 22, N.Y. TEL: PLAZA 3 -9 1 89

\ most desirable small Georgian wing chair, excellent
size for a bedroom. Extreme width at seat. 23 inches.
Extreme height at hack. 40 inches.

Wakefield-Scearce Galleries

DIRECT IMPORTERS

Historic Science Hill Shelbyville, Kentucky

on BOTH main roads (U.S.60 and 1-64) between Louisville
and Lexington

I TSIT OUR SUBTERRANEAN SILVER VAULT

Open every day 9 a.m.S p.m. Closed Sundays

Telephone: (502) ME3-4382

Enjoy good food in Science Hill Inn
Both Gallery and Inn
located in Historic Science Hill

Franchiser! dealers for Doughty.
Boehm and Chelsea birds

Regency table
decorated
in black
with gold
27 inches
high

MERRYVALE

Antiques and Gardens

Open Monday through Friday 9 to 5.30 Tel. JOrdan 7-0615

3640 BUCHANAN STREET, SAN FRANCISCO 23. CALIFORNIA

pierre mutisse gallery

Halt htt s

If fie f v e r

C alii y ft it ii i s

D i« h ii ffe t

Hive r a

If i r o

M^e Co r b ii .« i e r

Riopelle

Sa ur a

If i / I a re s

Butler

If a rtnt

Giacometti

R o s z ak

41 East 57th Street, New It

ork 22,N.Y.

The Connoisseur, August, 1965

I

NEWHOUSE GALLERIES

ESTABLISHED 1878

Monsieur tie Marigny and members of the Marigny family
by

PAUL VILLEBOIS (1705-1765)
Signed and dated On canvas 25} x 32 inches

FINE PAINTINGS

15 East 57th Street

PLAZA 5-4980

New York, N.Y.

BY APPOINTMENT
TO H.R.H. THE DUKE OF EDINBURGH
MEDALLISTS

Queen Anne silver coffee pot London, date 1703
Maker: G. Lewis. Height to top of finial: 9 inches
Weight: 24-30 ounces

SPINK & SON LTD 5-7 KING STREET ST. JAMES'S LONDON SW1 TEL WHI 5275 CABLES SPINK LONDON

THE CULT OF THE
CONTEMPORARY

NOTHING is more tiresome than stale eccentricity.' The
words are those of Irving Babbitt, and Babbitt's great
ttack on Joel Spingarn was an attempt to make sure that
riticism should be a separate activity from creation, it was to
ttend to the divorce of 'genius' from 'taste'. In short, it was —
ace Oscar Wilde — an assault on criticism as 'the only civilised
orm of autobiography' and many might feel that, what with
■Jew Critics, Archetypal Critics, and Chicago Critics, it has come
oo fir. Possibly to a standstill.

This may be so in letters. Oddly enough, Spingarn's impres-
ionism reigns supreme in art, where practitioner and critic
iperate from within a unified frame of reference that is unpleas-
ntly reminiscent of a charmed circle. There is no judicial
ppraisal in American art magazines; and the very few scholarly
mblieations there (such as the ever-excellent JAAC — Journal of
{esthetics and Art Criticism) have academic responsibilities which
o some extent deny them the power of veto; in matters of con-
emporarv art at least.

And it is here that Spingarnism runs riot. 'The identity of
;cnius and taste', he proposed, 'is the final achievement ot
nodern thought on the subject of art; and it means that funda-
mentally the creative and critical instincts are one and the same.'
slowhere is this better seen than in the panting thirst of arbiters
>f modern art for fresh expression, or the new. There is even a
>ook, by a 'critic' of this complexion, entitled The Tradition oj
he New. Its author can be read now in The Neit> Yorker magazine.

Alas, it is not as simple as that. For the new need by no means
>e the original. To have a new style is far from the same as being
original. Should innovation be the criterion whereby art is
fudged for originality, the critic would have to be a prophet,
'or how is the state of 'advancedness' discerned when, by being
>art of the contemporary world — and even Mr. Alfred Barr,
;ven Sir Herbert Read are human — the pundit is excluded from
he future »

Furthermore, if originality per se is a philosophical value, of
inquestioned permanence when it appears, it must reside
permanently in the artefacts to which it gave rise; thus the
:urrently despised naturalism of the mid-nineteenth century,
■ay, was original in its day. And if you argue that the vitality of
iny quality has by now died within that particular art form, why
hen, you are not talking about the quality of originality at all,

you arc talking in fact about contemporaneity.

But everyone is contemporary and, judging from some of the
recent international art circuses, it looks very much as if everyone
is going to be an artist. Anything created today is contemporary,
from Mr. Andy Warhol's Brillo cans to Mr. Robert Rauschen-
bcrg's exposed bed-clothes; and every activity any ordinary man
performs in any given day seems to have been accounted for, in
any 'sculpture' section of one of the wilder Western U.S. art
shows. (Democracy has even had to concede the admission of
animal art — in the form of the occasional chimpanzee picture,
and so on.)

An entertaining example of this confusion occurred earlier
this year when the directors of the Corcoran Gallery in Washing-
ton, D.C., were questioned by a journalist as to their selections.
The survey chosen included 1 18 pictures by 15 artists, and a jury
of directors drawn from the Guggenheim, Baltimore, and De-
troit art museums, gave top prizes to Robert Rauschenberg (he
of the hanging bed-clothes); an ex(?)-interior decorator named
Richard Pousette-Dart; and to Gene Davis for his 20-foot com-
position of 32 coloured vertical stripes (i.e. an awning); 4,300
works were rejected. Most of these, according to the Corcoran's
director, were misguided attempts to paint 'with photographic
accuracy, or in the idiom of comic strips'. However, since
blown-up comic strips (by Roy Lichtenstein) were in fact in-
cluded, the jury accused themselves of somewhat of a nou-
sequitur. What they said, in effect, was that only their subjective
intuition could discern when a comic strip is not a comic strip.
This is not judgement so much as an act of faith. One thing is
certain — it is not avant-garde.

To be original — that is to be in the position of possibly be-
coming art — lies in the realm of ontology. We cannot know.
We can, however, identify and reject advocacy that mas-
querades as art, and it would do us no harm to recall the legacy
Babbitt left his student T. S. Eliot in this regard — namely, that
the historical sense is what makes an artist acutely conscious of
the present, and therefore acutely contemporary. Terrified of
the Van Gogh syndrome, the pundits are placing their bets ever
more restlessly on 'self-expression'. The result, as movements
like abstract expressionism or Pop Art have shown, is really a
kind of anonymity. For to be perpetually impermanent is, in a
manner of speaking, not to exist at all.

217

The

'seriousness'
of Japanese
armour
collecting

CLAUDE BLAIR

FEW antiquities of any nation have suffered the indignities
which Japanese armour has received, and few students of art
have ever given it more than a passing glance.' In these words,
published in 1950,* Mr. H. Russell Robinson of the Tower of
London Armouries gave what was until recently an accurate
assessment of the status of the military equipment of Old Japan
outside its country of origin. It is pleasant to be able to record
here that the second part of the assessment at least is now no
longer true. During the last ten years an increasing number of
people, both in Europe and America, have begun to collect
Japanese armour seriously, a phenomenon that has been reflected
very clearly in the art auction rooms. As recently as ten years ago
a complete Japanese harness of the finest quality could be purchas-
ed for £10 (28 dollars) or less: the splendid 'Date' armour in the
Victoria and Albert Museum, for example, was bought by a
private collector from a Manchester dealer in 195 1 for ^7. 10s.
The recent trend of auction prices indicates that if the same
armour were to come into the market now it would certainly not(
be sold for less than jQioo (280 dollars) and would probably fetch
considerably more.

The change in attitude towards Japanese armour has, no doubt, I
come about partly as a by-product of the widespread interest inl
Japanese swords that has grown up since the last war. The
rocketing prices of European arms and armour, coupled with the
scarcity of fine specimens in the market, has also led many col-
lectors of modest means to turn their attention to oriental pieces,
which can still be obtained comparatively easily and at com-
paratively reasonable prices. A major share of the credit for the
change must, however, go to Mr. Robinson who, despite every j
discouragement, has campaigned continuously during the last J
fifteen years for the recognition of Japanese armour as a subject
worthy of serious study. The fact that, for the first time in over I
fifty years, an important British national museum like the Tower j
Armouries is now holding a loan exhibition of Japanese armour 1
is therefore a very considerable personal triumph for him.

The exhibition, which will remain open to visitors in the New
Armouries at the Tower of London until September 18, consists)
of 118 objects, with one exception, from public and private!
collections in Britain. They have been selected chiefly to illustrate
the development of Japanese armour from its earliest recorded |
appearance in the fourth century A.D. until it was finally discard-
ed in 1867; though a few swords and other weapons have been
included as background material. Inevitably, in view of the great
rarity of mediaeval specimens, the majority of the armours date 1
from the sixteenth century and later, though some incorporate
fourteenth- and fifteenth-century pieces. The earlier periods are,
however, represented by an excellent series of reproductions j
which include what is perhaps the most striking harness in the
whole exhibition (No. 7). This is an exact copy, lent by the
Tokyo National Museum, of a great armour of the late twelfth
century preserved at Mitakejinsha Shrine, Tokyo Prefecture, but
restored to its pristine condition so that it looks as the original
must have done when it left the armourer's hand. The overall;
effect, particularly of the brilliant red lacing, is one of great splen-
dour.

I. Figure illustrating the order of arming a samurai in the fourteenth
century. The warrior is wearing fabric under garments and has already
donned his shin-guards, left armour sleeve, thigh armour, right side plate
of the cuirass, and throat-guard. The remainder of the armour and his
weapons are arranged near him. The armour, though in the style of the
fourteenth century was actually made in the nineteenth century.

I The selection of armours and pieces of armour of the sixteenth
.ntury and later probably could not be bettered other than in
1 man itself. All the main types are represented, including the
urious iiambaii style which involved the use of pieces of European
rmour, while a number of the exhibits have special connections

ith England. Notable among these last is the armour lent by
Ier Majesty The Queen (No. 2), one of two presented to King
unes 1 by the Governor of Edo in 161 3, and another, lent by the
Ictoria and Albert Museum, which was presented to Queen
ictoria in 1865 by the Sh5gun Tokugawa Iyemochi.

An excellent unillustratcd catalogue of the exhibition (price
rL), containing full descriptions of all the objects shown, has been
roduced by Mr. Robinson. He has at the same time prepared

short history of Japanese armour containing many illustrations,
lcluding pieces from the exhibition, which has been printed in
ie same format as the catalogue. This serves as a very useful
ltroduction to the exhibition, though it is an entirely independ-
it publication which will remain on sale at the Tower (price
>.) after the exhibition is over.

The exhibition at the Tower provides a rare opportunity of
«ing Japanese armours well displayed in suitable surroundings
ad, above all, properly mounted. It establishes beyond question
lat a Japanese harness of the first rank, with its rich colouring
id splendid decoration, is a superlative work of craftsmanship by
ny standards. Nobody who is interested either in oriental art or
1 arms and armour should miss the opportunity of seeing it.

'A Plea lor Japanese Armour', Apollo, March, 1950, pp. 71-73.

, Below. Armour laced with dark blue silk with a central cross design of
ame red, the iron parts lacquered black and gold and mounted in gilded
apper. The armour, which is accompanied by its original lacquered
iiTups and saddle-tree, was presented with another similar harness to
.ing James I in 1613 by the Governor of Edo, son of Shogun Iyeyasu, being
rought to England by Captain Saris of the East India Company. Gracious-
• loaned by Her Majesty The Queen.

3. Above. Armour laced with dark blue silk and bearing the badge of the
Arima family in gilded copper and shakudo. The helmet is signed Myochin
Nobuiye and dated 1536: the plates of the sleeves and the shin-guards are
signed by Myochin Munetomo who probably mounted the armour in its
present form in about i860. The armour was presented to the 1st Duke of
Edinburgh by the Emperor Meiji on the 22nd September, 1869. Graciously
loaned by Her Majesty The Queen.

\. Top left. Armour of 'modern' type with russet iron cuirass of horizontal
plates and dark green lacing. The helmet bears three deep musket-ball
proof marks and is dated 1663. Lent by the Tower of London Armouries.

5. Above. Embossed 'modern' armour, the russet iron cuirass signed Myo-
chin Ki no Muneaki and dated 1727. National Trust, from the Wade Collection,
Snou'shilt Manor.

6. Left. Armour of c. 1570 bearing the badge of Naito Yukiyasu, a Christian
samurai who used the Japanese character ju (ten) for this purpose because it
resembles the Cross. The Tower of London Armouries.

7. Facing. Modern reproduction of a great armour of the late Heian Period
(late twelfth century). The original armour of which this is an exact copy
is preserved at Mitake-jinsha Shrine, Tokyo Prefecture. Lent by the Tokyo
National Museum.

I. Plate decorated with spiral border of blue foliage in the form of hearts. The plate painted with a representation of Summer. Third quarter of the
seventeenth century. Historical Museum, Berne.

Swiss majolica from Winterthur

ROBERT L. WYSS

IN the small town of Winterthur in Zurich canton true majolica
ware was being produced from the end of the sixteenth
century until the first decades of the eighteenth century. In
Winterthur alone during this period as many as 96 master
potters arc recorded as having been engaged in the production of
countless tiled stoves in green glaze or with polychrome tiles.
These tiled stoves were among the finest products of the Swiss
ceramic industry; and, indeed, are to be counted among the best
examples of stove manufacture generally. The reputation of the
Winterthur stove industry was founded in the first place on the
sound construction of these useful objects; and the polychrome
pictorial decoration gave the stoves a very special appeal. The
many tiled stoves with biblical and historical illustrations, with
emblems and allegories typical of the period, and the scenes from

222

mythology and from contemporary everyday life, provide us
with a valuable historical picture of the time.

The exercise of this artistic craft, the best period of which
dates from around 1620 to the turn of the seventeenth century,
was restricted to a small number of families among which the
most prominent were the Brennwald, Erhart, Forrer, Graf,
Kaufmann, Meyer, Pfau, Reinhart, Studer and Sulzcr families.
Many of these families in fact practised the potter's craft through
several generations. In the case of the Pfau family, the most
important makers of tiled stoves in Winterthur, altogether seven
generations, numbering sixteen master potters, exercised this
craft.

The Winterthur potters were organized as a guild and from
the year 1637 had their own trade regulations for the exercise of

"Mi

heir craft. The profession was much respected in Winterthur,
tnd in 1672 we find a potter, Hans Heinrich Pfau I (1598-1673),
jeing nominated as Chief Magistrate, the highest office in
Winterthur. The fame of these potters spread far beyond the
own itself and orders for tiled stoves and the other pottery w ere
vceived not only from the neighbouring towns of Zurich, St.
fallen, Schaflfhausen and Lucerne, but also from the cantons of
rhurgau, Graubundcn, Zug and Schwyz ami even from across
he Rhine, from lsny, 1 indau and Thiengen.

There is a Winterthur stove in the 1 [istorical Museum in Berne
he tiles of which are executed in two different techniques. This
example has an octagonal tower which is the most typical
\Vinterthur form and from the 1720's was the most frequent
No. 2). The construction can be briefly described as follows.
The whole stove — the tower or stove proper and the side seat —
tands on a common base. The stove proper, which is raised on
>limatic legs above a marbled base, is divided vertically into
hree stories separated by cornices, and the whole is crowned by

deep cornice with ornately formed tiles in relief. The lower
wo stories are decorated with wide pictorial panels in green
daze relief alternating with narrower pilasters bearing repre-
entations of the months painted in the traditional four colours.
The relict panels of the lower zone represent the Life of Christ,
.nd of the upper zone, the Fall and the Archangels Michael and
labriel.

Before a potter received a final contract for his work he was
>ften required to produce a small model stove including the
>rojected ornamentation in the four traditional colours: blue,

ellow, manganese-brown and green. This model would
>ccasionally find its place on the writing table of some rich
mrghcr's house as a writing vessel, small wells for the ink and
and being set in the side seat or scats (No. 3).

The most common type of writing stand was in the form of a
>aroque fountain facade. Wells to take the ink and sand were set
n place of the fountain, and the quills, pens and other writing
itensils were placed in a lip or runnel in front. The whole was
urmounted by a pedimcnted feature ornamented with putti
nd animals in relief or in the round and would either be decor-
ted 111 four colours with flowers or ornaments or the whole
ovcred in green glaze (No. 4).

Many potters were also engaged in the production of the
ather heavy vessels, especially wine, water and cider jugs, and
dates and dishes of varying sizes, which were more frequently
Qtended as decoration on the walls and sideboards of palaces or
n the houses of well-to-do burghers than for everyday use.

The Winterthur painters of these stoves and vessels employed

traditional decoration of ornamental, heraldic or symbolic
notifs that was imitated in the various workshops throughout
he seventeenth century, occasionally varied or adapted to
ontemporary taste. Among the most common decoration was
he stylized garland of flowers or fruits with its spirally-formed
>lue stems (No. 5). Included among the stylized or naturalistically
epresented flowers was the passion flower. These garlands
ippeared on the water and cider jugs — which were often pro-
vided with a pewter lid — as well as on the wide borders of the
arge ornamental plates (No. 6).

One workshop — which, unfortunately, cannot be identified
is the Winterthur vessels are not signed — usually produced plates
vith open-work rims with the garlands formed in relief (No. 7).
rhe centres of these plates were painted with various motifs,
vith landscapes, or with biblical, allegorical or emblematical
igurcs. The most frequent models for these scenes were the books
llustratcd by Tobias Slimmer, Virgil Solis, Jost Ammann,
Dhristoph Murer and Conrad Meyer. Less gifted painters how-

2. Tower-stove with side seat, by Hans Heinrich Graf (signed HH.G.).
The relief panels in green glaze. The pilasters painted by Hans Heinrich
Pfau. The arms on the cornice are those of Jakob Wegmann and Ursula
Toggenburger. Dated 1685. Historical Museum, Berne (originally in the
EfFretikon mill).

m

3. Model of a tower-stove with two side seats, used as a writing stand. The
arms are not identified. Second half of the seventeenth century. Heimat-
museum Lindengut, Winterthur.

223

6. Five water, wine and cider jugs, painted in colours with garlands of flowers, seventeenth century. Landesmuseuin, Zurich.

224

'er were content with the reproduction of traditional motifs,
presenting friendship or love; motif of the two hands clasped
/er a heart from which a stylized and symmetrical spray of
)wers issues (No. 5).

Another typical Winterthur border motif consisted of four
rarts, each composed of two spirals of foliage placed together,
tinted in blue and disposed on the rim of the plate in the form
"a cross. An example of such a plate is that with a personifi-
tion of Summer from a series of the Four Seasons (No. 1).
The cider and beer jugs decorated with manganese-brown dots
id with parallel stripes in three or four colours have a somewhat
stic appearance. These jugs were usually decorated on the sides
ith masks, garlands or figures in relief (No. 8).
A special product of the Winterthur potters were plates
riving coats-of-arms. They continued to be very popular
roughout the seventeenth century, and the leading burghers
the towns in eastern Switzerland would go to Winterthur for
ch plates. If they were intended as a wedding present, the arms
both families would be painted side by side; and if a man had
•en previously married, the arms of his deceased wife or wives
ould often appear also (No. 9). There was no set rule for the
coration of the borders of such plates, but most frequently the
ms were surrounded by four fruits disposed crosswise, a type of
coration peculiar to Winterthur. Heinrich Pfau (1642-1719),
e most outstanding of all the Winterthur pottery painters,
hose work is easily distinguishable from that of others by his

7. Plate with open-work border representing a garland of flowers and
fruit. The plate painted in colours with an unidentified landscape. Mid-
seventeenth century. Private collection, Winterthur.

A wine and water jug, a beer-mug and a plate, decorated with dots in manganese-brown, seventeenth century. Landesmuseum, Zurich.

225

9. Plate with four coats-of-arms of Zurich families (the Waser family
twice, and the Schwytzer and Keller families), the border painted with
four fruits. Dated 1662. Private collection, Zurich.

10. Plate with the coat-of-arms of Barbara Peyer of Schaffhausen. Dated
1688. Landesmuseum, Zurich.

II. Three apothecary vessels: a pill-box with lid in green glaze, dated
1686, an albarello and a syrup jug from the second half of the seventeenth
century. Landesmuseum, Zurich.

extremely fine brushwork, once took the liberty of introducin
a pair of trophies and a man and woman clad in the costume o
the time in place of the four fruits (No. 10).

Already by the seventeenth century faience pottery apoth
cary vessels for draughts, pills, balms and herbs, were be;~
produced in Winterthur, the common Italian forms scrvin
generally as models. The earliest apothecary vessel, a pill-box
a dark green glaze, is dated 1586 (No. 11). This was produced at|
the time when the production of pottery in Winterthur was just
beginning and when the painting of faience was unusual and
little developed. The majority of the Winterthur apothecary
vessels are painted in the traditional four colours, and there were
no special motifs employed in their decoration. Only occasionally
one comes across a syrup pot displaying on its side a little angel
and painted by Heinrich Pfau.

The fascination of Winterthur majolica ware, the material of
which may appear a little rough, depends especially on its paintec
decoration. There is a great wealth of hgural, floral and orna-
mental motifs painted in strong and bright colours. The earlier
examples are generally somewhat darker in tone than those
produced in the second half of the seventeenth century and arc
more coarsely painted. Towards the end of the century a distinct
refinement in the painting technique and of the colours is,
apparent, especially in the work of the painters under the
influence of Heinrich Pfau.

In the seventeenth century, Winterthur was the only town ir
Switzerland producing true majolica ware of such high quality,
and already in that century Winterthur pottery was known fai
beyond the borders of Switzerland. Today these objects are
among the most sought-after collectors' pieces not only by the
museums of Switzerland, but also by those of Germany, France
Austria, England and Italy.

226

Centenary of a minor master

AUGUST 19 marks the hundredth anniversary
' Thomas Churchyard, one of the most engag

of the death of
ging of English

jineteenth-century amateur painters, whose local fame in his
lifetime has today (particularly price wise) grown into much
.vidcr recognition. Born in [798, he lived nearly all his life at
|7oodbridge, Suffolk, where he became a respected county
ourt law ver with a reputation for saving lost cases. 'Many a
uckless wight', recalled the Ipswich Journal, 'has had cause to
hank him for hair-breadth escapes from the penalties of the law
. . United to this, his manner was polished and gentlemanly 111
he extreme; his conversation full of wit and anecdote to over-
low ; while his varied information, especially on matters con-
lected with art, made his company . . . amusing and delightful.
The law was not Churchyard's real love: his heart lay in
] ollecting and painting. As a collector he is credited with being
iinong the first to arouse widespread interest in John Crome, his
ellovv East Anglian, whose works he collected and innocently
opied— so convincingly that he was reputed to have taken in
:onnoisseurs of his own day, to say nothing of later generations of
; ollectors and dealers.

His fine eye for the early English landscape school, including
Wilson and Gainsborough as well as his beloved Crome, led him
0 emulate as well as merely imitate. But it was Constable who
nspired him to the bold, uninhibited brushwork and opulent use
if colour w hich, together with a total lack of affectation, disti-
nguish the best of his work, ft is not certain that the two men
•ver met, though Constable did visit Woodbridge (the first
! ime in 1 8 1 5) and Churchyard, as one of the local celebrities
mown as the Wits of Woodbridge — they included the poets
Jernard Barton (a bank clerk) and Edward Fitzgerald of Omar
j iChayyam fame — would scarcely have missed the opportunity.
As one who sketched from sheer pleasure, with little or no
nought of exhibitions or academies, Churchyard would cheer-
ully disregard the rules of classical composition while managing
0 pack his little pictures with style and interest. Though he
produced a respectable quantity of serious work — two 'drawings
irom nature' at the Royal Academy in 183 1 — the bulk of his out-
nit was in the form of small colour studies made in and around
ns native Woodbridge. They have a spontaneity and a directness
i )f observation which have given increasing pleasure ever since.

The subjects are unpretentious: the fields and houses of
Woodbridge and the surrounding villages, men at work on
learby firms, sailing boats on the River Deben, people enjoying
he sun and breezes of the Suffolk seaside. All through his life
;uch sketches were passed to friends and neighbours, tradesmen
md members of his family. As he grew older, Churchyard
11 scribed his drawings with the name of the particular son or
(.laughter (he had ten children) whom he wished to inherit them,
md many of these are still in circulation. It was the youngest
laughter, Harriet, who drew the watercolour portrait of her
:ather now in the Victoria and Albert Museum.

Though his passion for collecting and painting may well have
mpeded his legal career, Churchyard was still busy in the Wood-
jridge court a couple of days before he died. And. though he never
exhibited after 1833, drawings dated in his own hand as late as 186 1
;voke the Suffolk countryside of a hundred years ago with charac-
:eristic serenity and ease. It seems no less than his due that, far from
icing a mere 'primitive' to be admired with fashionable amuse-
ment, he survives into another age as a true artist. — Denis Thomas.

View of Woodbridge across the River Deben, ioi • 15A inches, a full-scale
watercolour in the Constable manner, inscribed with the name of the
artist's daughter, Emma, on verso. Author's collection.

Figures on sand dunes, Suffolk coast, 4^ inches. Author's collection.

227

Drawings by Degas in
English public collections: 4

RONALD PICKVANCE

N E must treat the same subject ten times, even a hundred
V^y times. Nothing in art should seem to be accidental, not even
movement', Degas wrote to his sculptor friend, Bartholome, in
1886. He could have said it at any time: in the 1860's, when he
was drawing nudes for his history paintings; in the next decade,
when he was tirelessly stalking dancers at the Opera or, as we
have seen, Miss La La at the Circus. But he could never have said
it with greater force than in connexion with the late drawings,
dominated as they are by the hundreds of sheets devoted to the
female nude. Here the model is relentlessly observed in the simple
repetition of such physical activities as 'bathing, washing, drying,
combing her hair or having it combed'. It was thus that Degas
first publicly announced the theme in the catalogue of the last
Impressionist exhibition of 1886. Subsequently, it was pursued in
private; few were exhibited, few were sold, and not until the
studio sales of 1918-19 was the vast hoard of these late charcoal
drawings first revealed. The four examples chosen to illustrate
the present article all appeared in these sales.

The first of these in date is the nude drying herself, now in the
Ashmolean Museum, Oxford (purchased in 1942). In observing
this rather dumpy model, three-quarters from the back and
slightly from above, Degas catches the momentary action of
rubbing a towel across her shoulders. The contours are frequently
re-stated as he searches for the pose — head, shoulder-line, left
elbow, limbs are all recast, with a final, simplifying line round the
right toes. The charcoal has a softness, enhanced by touches of
white chalk which register the light striking the figure on her
right. Both in pose and lighting, the Oxford drawing was faith-
fully transcribed (with only slippers added) in one of the most
ambitious of Dcgas's nude-in-interior compositions. This is a
pastel once in the collection of Claude Monet, apparently the only
work by Degas which he owned. The nude is here seen in her
bedroom, trapped within the wedge of space formed by her
bed, the open door and her dressing-table (where cunning use is
made of the mirror reflection).

Degas seldom gave such a generous glimpse of the room. More
often than not, the tin bath, a permanent studio-property, was a
sufficient accessory to the activities of the nude model. Occasion-
ally, however, he would introduce a second figure, the maid,
waiting with towel, or brushing her mistress's hair, or proffering
a cup of coffee. Such a figure appears in a drawing in the British
Museum, holding up a bath-robe as madame finishes drying
herself. This sheet is an interesting indication of Degas's method.
In his belief that the artist should constantly reproduce the same
figure, he evolved two ways of achieving this. The first, the taking
of counterproofs, has already been discussed. The second method
is exemplified here. Using tracing paper, Degas has first trans-
ferred the image in pencil from a sheet now in the Burrell
Collection, Glasgow (Lemoisne 1085). He then reversed the
tracing paper and worked up the traced image with charcoal,
modifying the contours here and there. Many other drawings

1. Nude drying herself. Charcoal heightened with white on faded blue
paper, 45 ■ 29 cm., 3rd Atelier Sale, No. 347. The Ashmolean Museum.

228

. The Toilet. Pencil and charcoal, with red chalk rubbings, on tracing
taper, 36 ■ 33 cm., 3rd Atelier Sale, No. 334 (2). The British Museum.

xist of this pose, some of which subsequently served for pastels.
Jut the British Museum drawing is more closely connected with

project announced in a letter to his friend Valernes in 1 89 1 ,
vhere he speaks of doing a suite of lithographs on nude women at
heir toilet. This was never completed, but the present pose was
vorked out, with variations, on several plates.

In concentrating upon a limited repertory of poses, almost
)bsessively repeated, Degas attains an economy of statement
•quivalent to Cezanne's fmal assault on Mont St. Victoire or
vlonet's late water-lilies. And his means were the simplest. No
loubt accentuated by the increasing threat of blindness, his ex-
:lusive use of charcoal is uncompromising in its complete disdain
if beguiling touches or surface frills. This is apparent in the
hawing — on tracing paper — now in the Fitzwilliam Museum,
Cambridge (bequeathed by Guy Knowles in 1959). Probably
lating from the early 1890's, it is again one of a number of variants
)f the same composition; although in this instance no pastel or
)il painting seems to have resulted. The Fitzwilliam version
differs from the others in the cast shadow thrown by the nude
drying her arm, which unites her more closely with the bath. A
inore immediate relationship of nude with bath is established in a
drawing, also on tracing paper, now in the Victoria and Albert
Museum (purchased directly from the 4th studio sale of 19 19).
The nude now dominates the sheet; as Degas progressively chose
larger sheets on which to work, so he enlarged the scale of his
figures until they have a massive, and almost tragic simplicity.
Reminiscences of Michelangelo's bathers (Degas copied them in
his youth) have been noted in some of these late nudes. He had so
imbibed the lessons of the Old Masters that such parallels may
come to mind — Renoir, for example, saw allusions to the Par-
thenon frieze. Certainly, in these late nudes, Degas's prolific and
lifelong activity as a draughtsman found its apotheosis.

3. Nude drying herself. Charcoal on tracing paper, 36 27 cm., 3rd
Atelier Sale, No. 360. The Fitzwilliam Museum.

I . *i> : ' ' - - *

4. Nude drying herself. Charcoal, 48 60 cm., 3rd Atelier Sale, No. 388.
The Victoria and Albert Museum.

--9

A golden tower in the Hindu
Kush: the Minaret of Djam

GEORGINA HERRMANN

FOR many years persistent rumours reached Kabul, the pre-
sent capital of Afghanistan, of a beautiful tower lying in the
remote central ranges of the Hindu Kush mountains. No attempt,
how ever, was made to locate and visit this tower until the sum-
mer of 1957, when the late M. Andre' Maricq, a member of the
Delegation Arclieologiqne Frangaise en Afghanistan, successfully
undertook this mission. The road to the legendary tower was
long and hazardous and the final forty kilometres had to be
covered on horse-back. When he eventually reached his destina-
tion, M. Maricq was overwhelmed by what he saw — a slender,
golden tower, surrounded by harsh mountains, yet dominating
them by its breathtaking beauty. He had come expecting to find
a ruin, but instead discovered a monument with all that that term
implies of inspired artistic effect.

The Minaret of Djam,1 as this tower is now known, is situated
on the banks of the Hari Rud, approximately 500 kilometres west
of Kabul and 210 kilometres cast of Herat. The mountains part
to form a long narrow valley, through the length of which runs
the Hari Rud. The surrounding mountains are steep and bare, and
near their tops can be seen the ruined remains of fortifications,
which once encircled the valley, turning it into a mountain
stronghold. Scattered sherds found on the valley sides testify that
this site was formerly a city, the houses of which must have
clambered up the steep slopes and clustered in the flat valley
bottom. Today throughout Afghanistan many towns and villages
are still built clinging to the mountain sides, one house perched
above another.

The Minaret stands at the head of the valley, bordered on two
sides by water — on one the Hari Rud, and on the other a little
tributary of the mam river, the Djam. The Minaret is entered by
a window some two metres above present ground level. Origin-
ally entrance must have been effected in some way from below — ■
possibly by a tunnel running under the Hari Rud to connect it
with a building, now in ruins, standing on the other side. This
structure was probably originally the mosque, of which the
remains are extremely fragmentary. Unlike the Minaret, it was
built only of sun-dried mud bricks instead of the baked bricks
which form the latter, and which are virtually indestructible.
Indeed, the baked bricks which form Nebuchadrezzar's walls at
Babylon,2 built c. 600 B.C., could still be used today, nearly
three millennia later.

The cylindrical shape of the Minaret is a form typical of Iran,
as opposed to those used in Syria or Egypt. The closest parallel to
Djam seems to occur at Isfahan in the Ziar Minaret.3 Unfortun-
ately this monument has not been precisely dated; the earliest
date is thought to be c. A.D. 11 50. We cannot, therefore, be
certain that it served as a model for the Minaret of Djam (built
between 1 163 and 1202), though this supposition seems more than
probable, for it incorporates nearly every feature seen there.
The Ziar Minaret consists of a circular shaft rising in three

230

s.)

The first great band of Kufic writing bearing the founder's name in brilli
ant turquoise tiles.

,1

diminishing stages from an octagonal plinth. It is likewise built
of baked brick and includes turquoise tile decoration. Geo-
graphically, it is also probable that Ziar served as a prototype.

Scholars have identified the city at Djam as the lost capital ol
the Ghorid empire, the legendary Firuzkuh. The Ghorids were the
first native dynasty to unite and rule Afghanistan and to con-
quer a vast empire. Under their Sultan, Ghivath ud-Din Abul
Fath (A.D. 1 163-1202), who reigned for forty of the hundrcc
and fifteen years of Ghorid domination, the empire was increascc
year by year: at the time of his death Ghorid rule stretched from
China to India, and from the Oxus to Iraq. It was this warrior
who built the Minaret, which would have served the dua
purpose of glorifying his victories and yet piously attributing
them to Allah. It is therefore quite probable that this Ghoriq
sultan saw the newly built Ziar Minaret at Isfahan on one
of his many journeys of conquest and commissioned his archi
tect, by name Ali, to build him one both larger and more
glorious.

The Djam Minaret consists of a slender tower formed of
three truncated cones placed one upon another, rising from an
octagonal base, which itself is built on a stepped platform. The
total height is approximately 60 metres. The upward movement
of the Minaret was interrupted by two projecting balconies of
which now only fragmentary wooden struts remain. The top of
the tower is pierced to form a lantern cover.

The actual architecture of the building is completely successful
i its aim of depicting soaring majesty — rendered all the more
lizarre by its wild and isolated location. This concept is comple-
ncnted and endorsed by elaborate decoration, the most striking
sature of which is the band of brilliant turquoise tiles or kashi,
arrying the name of the founder, in the first great horizontal
land of Kuhe writing. The two upper cones are embellished
uth three more w ide bands of Kufic and these horizontal
aotifs emphasize the narrow upper sections of the tower. This
ecoration is made of small pieces ot baked brick carefully set
i a plaster bed.

The low est section of the Minaret is the most lavishly decorated
nd is covered with an intricate tapestry of design. Eight vertical
miels accentuate the skyward thrust of the column. Through
bese panels wind ascending bands of Kuhe which spell out the
ineteenth Sura of the Koran. The interstices between the
rinding verses are rhythmically tilled with geometric motifs
'ie whole giving an effect of richness contrasting strongly with
he severity of the heavy bands above.

Inside the Minaret is an intricate system of stairs leading both
ipand down. These rest on a complex system of vaults and double
aults. The lowest levels to which the stair leads are blocked, but
ven today it is still safe to climb right up to the window just
bove the ruined remains of the second balcony, only a short
.istance below the lantern top.

As M. Maricq commented in his report, an interesting adapta-
jbn of the design of the Djam tower can be seen in the Qutb
idinar near Delhi.4 This was begun by a Ghorid viceroy, the
Turkish General Qutb al-Din Aybak, as a funerary monument:
lie later stages, transforming it into an Indian version of Djam,
fere added by the Ghorid Sultan Iltumish (A.D. 1220-1235). The
^utb Mmar, built of red sandstone and white marble, consists of
ive superimposed truncated cones. Four balconies break the
fear's upward thrust. Between the balconies are richly sculpted
,mds.

Another contemporary Ghorid monument, now in a ruined
iate, is the mausoleum at Kwaja Chesht, between Herat and
)jam. Little remains of the decoration of this twin-domed
aausoleum, but the surviving panels show the same method of
pplied baked brick segments set into a plaster bed.

The Minaret of Djam remains today a symbol to the might
■nee wielded by this great Afghan dynasty. Their power was
■ased on their native mountain strongholds — and it was among
liese that they placed this unique monument. While the later
■ultans in the thirteenth century dallied in the rich plains of India,
he Mongols swept down from the north and seized the Ghorid
lomeland. Their capital was sacked and their name and deeds
vere forgotten for many centuries. The newly-discovered
4inaret of Djam bears eloquent witness to the remarkable
tower and culture of this tribe in the twelfth century.

NOTES

Memoires dc la Delegation Archcologiquc Franchise cn Afghanistan, Tonic XVI
Ifdre Maricq et Gaston Wict, Le Minaret de Djam, La Dicouverte de la capitate des
tultans Ghorides, Paris, 1959.

ttustrated London News, January 10, 1959, pp. 56-58.
R. Koldcwcy, The Excavations at Babylon, p. 30, London, 1914.
Athar-c Iran, Tome I, Haarlem, 1936. Myron Bcnicnt Smith, The Manan of
sfahan, pp. 313-358.

J. Fergusson, History 0) Indian and Eastern Architecture, Vol. II, p. 205, London, 1910.

The Minaret of Djam, a slender, golden tower surrounded by harsh moun-
ains yet dominating them by its breathtaking beauty, and today a symbol
o the might once wielded by a great Afghan dynasty.

A few recent
accessions to
the Ashmolean
Department of
Eastern Art,
Oxford

PETER C. SWANN

MUSEUMS are, of course, in one sense private collectors
writ large. The significant difference is that they seldom
have at their disposal the money available to many private
collectors. It is strangely anomalous that, despite all efforts, in
Britain they are relatively starved of funds. No nation would
employ top-rate scientists and not give them adequate funds to
use their abilities; yet this is normal for museum experts. Unless
they find patrons with whom and for whom they can work, an
important part of their skill is not employed — and the country is
the loser. It is only very rarely that they are given the means to
travel and acquire objects before they have passed through a
number of hands and reached the London market, at inevitably
enhanced prices. This is particularly true of departments specialis-
ing in the Far East.

However, a rare visit to the other side of the world enabled us
to buy a number of objects belonging to categories hitherto
unrepresented in the Oxford collections. These were fortunately
still at prices which a provincial museum could afford. Foremost
among them is a splendid example from Japan of a Jomon type
pot (No. i). This powerful pottery, decorated with jomon or
'cord patterns' characterises early Japanese culture of the neolithic
period which nourished until about the time of Christ. They
were thus made before Continental influences and in particular
those of China overwhelmed the indigenous culture of the
Japanese islands. This particular example is dated to about 500
B.C. It is heavily potted of grey-brown clay and baked quite
hard. The shapes are full of fantasy and sculptural in inspiration.
The effect is almost mask-like, the product of the same haunted
imagination seen so forcibly in the rare figurines of the period.
Such pottery is perhaps the most imaginative produced by any
stone-age people and few examples have reached Britain.

In Formosa we acquired an eighteenth-century ink painting by
Min Chen (born 1730). This artist is one of the rarest of a group of
eccentrics who lived a stimulating vie Ac boheme in the culturally
brilliant city of Yangchow. He probably worked towards the end
of the eighteenth and perhaps into the nineteenth century. Such
men consciously rebelled against the set formulae of the court
painters of the time and the entrenched scholar-painters who
were supported by the Manchu 'Establishment'. At a period when

1. Left. Clay vase of
Jomon type. Japane:,
neolithic period, c.
500 B.C. Height 12
inches.

2. Below. Ink painting
by the Chinese
'Eccentric' Min Cher1
(1730-?), 32g X 19
inches.

232

irofessionalism in painting was considered degrading they were
iigh.lv professional artists living by their work. The Civil Service
, vas the only source of employment for the educated and many of
] hesc painters were either failed civil-servants or men who had
>een drummed out of the service. Fortunately they found patrons
* ■ nd a ready market for their highly individual visions. Their
vork is fir more free than that of the established artists who were
ibliged to follow in the footsteps of their illustrious predecessors.
Che ink tones of these individualists are often experimental and
uminous and a gentle sense of humour pervades the iconoclastic
tmosphere of their work (No. 2). It seems that such freedom in
rtistic matters was one of the few ways they had of protesting
gainst the stifling political atmosphere. Their works are not
bund in the Imperial collection !

Min Chen here combines the ink tones of a more famous
nember of the group, Li Shan, and the figure painting of yet
mother, Huang Shen. It is sad that, with few exceptions British
ollectors have neglected the artists of this period just as, it must
>e said, they have been afraid of collecting Chinese painting
iltogether. This is not so in America and on the Continent where
onnoisseurs have built up commendable collections. The recent
Oriental Ceramic Society Exhibition of The Arts of the Ch'ing
Dynasty should have alerted many people to the delights of the
>eriod's painting. Here is a field which awaits a discerning
:ollector — but the opportunities will not last for long.

It is not such a big jump in Chinese painting from the eight-
:enth century to the twentieth tor many ot the best contemporary
Chinese painters in the traditional style take their inspiration from
lie eccentrics of the seventeenth/eighteenth centuries. The most
■espected of these is certainly Fu Pao-shih (born 1904), whose
andscapes echo the freedom and brushwork of one of the great
leventeenth-century masters of landscape, Shih Tao. Yet they
lave their own disturbed, windswept quality and discreetly
I :empt the spectator to explore their sensitive, tangled brushwork.
Fu Pao-shih is still alive and very active and although his works
lave increased rapidly in price in recent years they are still
■xtraordinarily good value (No. 3). In the years to come the
Museum will consider itself fortunate to have examples of the
,vork of this great modern master — the most recent product of a
xadition now over 700 years old.

The Department has been fortunate in its benefactors during
he few years that it has been established. From the recent bequest
>f the late Lady Cash it received a charming tz'u-chou type pillow
in the form of a kneeling boy. The glaze is creamy-white and the
painting dark brown. The modelling is lively and the quizzical
look on the child's face is the product of a sense of humour rarely
;een in Chinese art. As so often in tz'u-chou wares, the few
touches of painting in brown glaze have an unerring liveliness,
here like the last few strokes of a caricaturist, bringing the whole
thing to life. The pillow probably dates from the Yiian to early
Ming periods — probably fourteenth/fifteenth centuries (No. 4).
What an amusing book one could make on the figures and objects
[►pressed into service to support or comfort the heads and feet of
I reclining humans throughout the world !

The art of Burma has been unjustly neglected by both scholars
and collectors. Even the archaeologist has hardly scratched the
surface of the country. Yet the best art produced by the Burmese
is in no way inferior to that of their neighbours, the Siamese,
which is far better known. Like Siamese art, it draws its inspira-
tion from India and is predominantly Buddhist. A large wooden
figure of the Buddha, nearly four feet tall, of gilded and painted
wood, was recently presented to the Museum by the Church
Missionary Society. Although of nineteenth-century date, certain
features of this image hark back to the time of the earliest Buddha

4. Figure of a kneeling boy. Chinese Tz'u-chou ware, I4th-I5th century.
Length 14; inches. Lady Cash Bequest.

233

5. Western India. Image of Virabhadra, l6th-i7th century. Height 6j
inches.

images made in India nearly two thousand years ago. Amongst
these may be noted the monastic robe, the lotus on which the
Buddha stands, the short curls covering the head, the elongated
ear-lobes and the 'cranial protuberance'. This was later treated as
one of the distinguishing marks of a Buddha, but was originally
the top-knot into which the long hair of an Indian magnate was
gathered under his turban. However, the way in which the upper
garment is draped with the swatch of cloth hanging over the left
shoulder, is of much later date; as also the manner in which the
lower garment is revealed and the left hand holds out a part of the
drapery. The plastic treatment of the drapery and indeed the
whole stance of the figure reveals European influence. The brilli-
ant polychromy, however, is characteristically Burmese. The
golden robe has an elaborately ornamented edge picked out in
colour and inlaid with tiny mirror-like discs, and the lotus base is
similarly treated, on a scarlet background.

The Department has also been able to purchase in India an
unusually large Pahari painting in the Kangra style. Measuring
n| by 1 6 /jf inches, it is an unusually large example of what
has been, rather unfortunately, called Indian 'miniature' painting.
Although some of the artists used a technique similar to that of
the European miniaturist, particularly in the faces, the similarity
ends there. The most attractive works are essentially album or
portfolio paintings. Pahari is a general term given to the various
schools of 'miniature' painting which flourished in the numerous
small hill states of North-West India, usually at the courts, as
opposed to the Rajput schools in Western India. Kangra was
one of these hill states, and its characteristic style of painting
was the last to flourish (late eighteenth century to the early decades
of the nineteenth). The painting acquired by the Department
belongs to the very end of the Kangra style, when it had prob-
ably already come under Sikh influence. The vegetation is treated
in typical late Kangra style and so is the water and the lotus plants
in the lower portion. The emphasis on tensely drawn curved

6. Horse and rider, bronze, probably from Central India. Height 7|
inches.

lines, to create highly rhythmical and at the same time poetically
stylised human figures, as seen in the seated woman, is the distinc-
tive contribution of the Kangra style to Indian painting. The
combination of stylisation and naturalism, the affectionate
attention to detail and the bright colouring create a lush, heavy
atmosphere in which the characters move with dream-like grace
and lightness. The painting depicts an incident in one of the
legends about Krishna, the great pastoral god, who is seen on the
right. ■
Two Indian metal sculptures have recently been presented to the
Museum by H. L. Dunkley, Esq. The first is an unusually old, and
fine image of Virabhadra, an emanation of the Hindu god, Siva
(No. 5). It is made of brass, with inset jewels, and the eyes are
inlaid in silver. On grounds of style, and from a few characters
roughly inscribed on the base, it is believed to be from Western
India and to date from the sixteenth or seventeenth century. As
usual, Virabhadra is portrayed with four arms, holding a small
drum and the trident, both symbols of Siva, and a shield. The
terrible aspect of the deity is indicated by a long garland of
severed heads. The small ram-headed figure on the left and the
woman seated on the right refer to the myth of Daksha, Siva's
father-in-law, who had gravely insulted the God and caused his
daughter to kill herself. Siva created the terrible Virabhadra to
avenge him. Daksha lost his head, which was replaced in error by
a ram's head.

The other image is a fine example of 'tribal' or village art,
probably from Central India (No. 6). The rider, with a shield
strapped to his back, a sword, and a quiver full of arrows, re-
presents a village deity partially assimilated to one of the great
gods of the Hindu pantheon. We know little about these folk-art
figures — they are often timeless — the products of a long and
sometimes complex tradition. Seen through the discerning eye of
village craftsmen, they arc unassuming, often humorous and
always lively.

234

Diderot, first of the art critics

5ERHARD WEBER

ART criticism came into being with Diderot (1713-1784),
LA. and though many other eighteenth-century journalists wrote
bout art, his essays alone have remained famous. They still
leservc reading.

In 1765, he said to his friend Grimm, the author of the
jOrrespondance littcraire: 'sij'ai quelques notions suivics delapein-
tire et de la sculpture, e'est a vous, mon ami, que je les dois . . .
ai ouvert mon ame aux effets . . . j'ai connu la magic de la
anuerc et des ombres . . . seul, j'ai medite ce que j'ai vu et
Dtendu . . .' (Any systematic ideas that I may have on painting
nd sculpture I owe to you, my friend ... I opened my spirit to
inpressions ... I experienced the magic of light and shade ... in
olitude 1 meditated upon what I had seen and heard . . .). For
wenty-two years, from 1759 to 1781, Diderot visited not only
he exhibitions, or salons, but also called on artists in their
tudios, plied them with questions, noted their jokes and their
omplaints, watched them at work and, on occasion, figured as
nodel himself: 'J'e'tais nu, mais tout nu. Elle me peignait et nous
ausions avec une simplicite et une innocence dignes des premiers
ges' ('I was naked, absolutely naked. She painted me while we
onversed with a simplicity and innocence worthy of the primal
ges of man' — referring to a lost portrait by the self-taught Mine
dierbouche).

Diderot's Salons fill nearly a thousand pages of manuscript,
ven without the originals for the years 1769, 1775 and 1781
vhich have disappeared. These art criticisms were not published
1 book form during his lifetime: Vest certainement la meilleure
hose que j'ai faite depuis que je eultive les lettres. Il y a des
aoments ou je voudrais que cette besogne tombat du ciel tout
mprime'e au milieu de la capitale' (It is surely the best thing I
!avc done since I first took to the profession of letters. There are
imes when I wish that the whole business might fall ready
Tinted from heaven into the centre of the capital' — from a letter
if 1765).

With their many inconsistencies, these texts still make good
eading as literary essays, and in spite of his relentlessly moralistic
pproach to art, Diderot is capable of some striking insights:
Lorsque le gout des beaux-arts est general chez une nation,
avez-vous ce qui arrive > C'est que l'oeil du peuple se conformc a
oeil du grand artiste' (Do you realise what happens when a
aste for the fine arts becomes general in a nation? It means that
he people's vision merges with that of a great artist). Paradoxic-
lly, this remark occurs in an article dealing with Quentin de La
four, a portraitist working principally in pastel. Diderot Con-
nies: 'il fait abstraction de ce que la connaissance du beau a in-
roduit dans la copie . . . il agrandit, il cxagere, il corrige les
ormes . . .' (He abstracts from that which by his knowledge of
)cauty he has put into the copy ... he magnifies, accentuates,
Iters forms . . .). Taken on its own, these words could equally
veil apply to artists nearer to us, such as Van Gogh, Picasso, even
iam Francis. This is not to say that Diderot was prophetic. Many
)f the artists to whom he devoted hundreds of pages are now
orgotten, and writing as he did exclusively about painters of his
)wn time it could hardly be avoided that he should at times

L. M. Van Loo. Portrait of Diderot. The Louvre.

bestow his praise on second-rate artists. In short, that he should
make mistakes.

Calling a Fragonard of dancing children 'une belle et grande
omelette d'enfants' (a fine big omelette of children) and expostu-
lating to the artist 'Monsieur, ccla est enablement fade!' (Sir, this
is deuced insipid !) must from our point of view be counted
against him as an error of judgement, but we should not forget
that his outlook was different from ours. Diderot urged in art the
same principle that Rousseau was proclaiming for society as a
whole: a return to nature — nature in the fullest sense. In his

235

Gabriel de St. Aubin. The Salon of 1753 at the Louvre. Musee de l'Hotel Lambinet, Versailles.

Paradoxe sur le comedien, a witty dialogue between two actors, the
question is discussed whether there is anything in common
between an actor's natural personality and that of Tartuffe. It is
denied: a successful portrayal of the hypocrite is due to an
'imitation profonde de la nature' (a thorough copy of nature).
Diderot admired Hubert Robert ('6 les belles, les sublimes
mines!'), who was made a member of the Academic in 1766 on
his return from Rome, praising him because everything was
'vigourcux com me dans la nature' (as forceful as nature) in his
work, and 'rien ne sc nuit comme dans la nature' (all is in
balance, as in nature).

Diderot must be given credit for having foretold Chardin's
posthumous fame — 'ses tableaux seront un jour recherches' (the
day is coming when his pictures will be much sought after) —
an artist who, like Vermeer, won complete recognition only in
this century. Diderot's grounds for saying this are Chardin's
'imitation trcs fidelc de la nature' (very faithful imitation of
nature). The porcelain in a Chardin really is porcelain, the pastry
is eatable, the wine could be drunk from the glass, the fruit could
be peeled: Vest la nature meme, pour la verite des formes et de
la couleur' (in its truth to form and colour, it is nature itself). He
is a magician and a great colourist in Diderot's eyes. He reports
that to a painter who once inquired whether one painted with
colour, Chardin replied 'avee le sentiment' (with feeling).
Diderot goes on to comment: 'e'est lui qui voit ondoyer la
lumiere et les reflets a la surface des corps; e'est lui qui les saisit
et qui rend, avee je ne sais quoi, leur inconcevable confusion' (by

observing the undulations of light and its reflections on surfaces,
he is able to grasp them and render, how I know not, their in-
conceivable complexity). With 'je ne sais quoi', the analytical
and exact encyclopaedist for once capitulates. In a flash he realises
that the secret of art cannot be laid bare in words. It requires
genius to grasp and render the inconceivable complexity orj
light.

There is an anticipation of Romanticism in Diderot's question,
in the Peusees detachees sur la Peiiiture, je voudrais savoir on est
l'ecole a sentir;' (I should like to know where to find the School
for Feeling;). The school for drawing, the Academic, is suspect;
for seven gruelling years the Academie instils only mannerism:
Tetude profonde de l'anatomie a plus gate d'artistes qu'elle n'en1
a pcrfectionne4. En peinture comme en morale il est bien danger-
eux de voir sous la pcau' (a rigorous study of anatomy hasl
spoiled more artists than ever it improved. In painting, as ir^
morality, it is quite dangerous to see beneath the skin). Diderot
is in favour of getting out into the open air. He recommends
artists 'Cherchez les scenes publiques, soyez observateurs dans les
rues, dans les jardins, dans les marches, dans les maisons' (go to
public events, use your eyes in the streets, in the gardens, in the
markets, inside houses). Goethe read these words in 1796 in the
Essais sur la peiiiture and echoed them sympathetically in his
comment 'Greift nur hinein ins voile Menschcnleben, und wo
ihrs anpackt ist es intercssant'.

Should there therefore be no more art schools; On the con-
trary, 'il en faut un grand nombre. Une nation ou Ton apprend-

236

Maurice Quentin de la Tour. Portrait of an unknown man, charcoal and
pastel.

rait a dessiner commc on apprend a ecrire, l'emporterait bientot
sur les autres dans les arts de gout' (they ought to be numerous.
A nation where drawing was taught as writing is taught would
soon prevail over all others in the fine arts). Diderot's love of
] painting had been awakened by the contemplation of Poussin's
! Et in Arcadia ego. In la Poesie Dratnatique, written some years
i before the first Salon, Diderot had commented: 'Le prestige de
style dont il s'agit, tient quelquefois a un mot qui detourne ma
vue du sujet principal, et qui me montre de cote, comme dans le
paysage du Poussin, l'espace, le temps, la vie, la mort, ou quelque
autre idee grande et mclancholique, jetee tout au travers des
! images de la gaiete' (This involves a magic of style that may
depend on one word to deflect my attention away from the main
. subject and give me an insight, as happens in Poussin's landscape,
into space, time, life, death or some other such great and affecting
( concept, all in contrast to a picture of joy).

It is amazing how painstakingly he will describe a painting, for
pages on end. He seems to miss nothing. He discovers 'une
infinite de choses' in a Boucher landscape. A dog, he notices, is
barking for joy and seems to be wagging its tail. But to this artist,
whose wealth of objects and ideas Diderot commends, it is how-
I ever reproached with possessing everything 'excepte la verite'
[(apart from truth). Boucher is the moralist's whipping-boy. He
is accused of never having observed nature, of corrupting
younger painters with his garlands of children, of being ie plus
' mortel ennemi du silence' (silence's most mortal foe). In 1765,
j Boucher had been appointed premier peintre du Roi, and as the
I sisters Murphy and Louise, one of whom became a mistress of
I Louis XV, were among his models, Diderot exclaimed, what
could one expect of a painter 'qui passe sa vie avec les prostituecs
du plus bas etage' (who spends his life among prostitutes of the
I lowest level).

He has to admit, however, that Boucher has an individual

Hubert Robert. Landscape drawing.

style. Any figure he painted could be recognised as his, all his
work having 'la meme imagination, le meme gout, le meme
style, le meme colons' (the same imagination, the same taste, the
same style, the same colour). One feels this is in fact a testimonial
to the artist's authenticity and that Diderot could scarcely have
said anything better of the premier peintre du Roi. What then was
his objection to Boucher; It was a moralistic prejudice. 'Cet
homme ne prend le pinceau que pour me montrer des tetons et
des fesses. Je suis bien aise d'en voir; mais je ne veux pas qu'on
me les montre' (This man never picks up his brush for any other
purpose than to show me nipples and thighs. I take pleasure in
seeing these, but I do not care to have them shown to me).

Hence his enthusiasm for Greuze's bourgeois domestic idylls.
'Ses paysans ne sont ni grossicrs comme ceux de notre bon
Flamand (Teniers), ni chimeriques comme ceux de Boucher'
(His peasants are neither coarse like those of our good Fleming
(Teniers), nor fanciful like those of Boucher). Of la piete familiale
he says that he likes it because it is a 'peinture morale'. The artist's
brush had glorified vice and debauchery for long enough and the
time had come for it to play its part 'a nous toucher, a nous
instruire, a nous corriger et a nous inviter a la vertu. Courage,
mon ami Greuze, fais de la morale en peinture' (in touching us,
teaching us, correcting us and leading us towards virtue. Be of
good cheer, friend Greuze, and preach morals in painting). Yet
he confesses in front of a Susannah and the Elders, '. . . loin de
ressentir de l'horreur pour les vieillards, peut-etre ai-je desire
d'etre a leur place' (far from feeling disgust at the old men, I
think I may have wished myself in their place).

He ascribes the same educational purpose to painting as to
poetry and drama. Describing how 111 le mauvais fits puni the
returning prodigal strikes his brow with his hand at the sight of
his dead father, Diderot points the moral: 'Quelle lecon pour les
peres et pour les enfants.' (Here is a lesson for fathers and for

237

Jean-Baptiste Chardin. Musical Slill Life, 1765. The Louvre.

J.-B. Chardin. The monkey painter. The Louvre.

children). He loathes all 'petites bassesses' that spring from a
mean character, but exempts great crimes which can give rise to
wonderful paintings and tragic plays. Thus Francois Casanova is
in his eyes a great painter, 'il sort de son cerveau des chevaux qui
henisscnt, bondissent, mordent, ruent et combattent; des homines
qui s'egorgent en cent manieres divcrses; des cranes entr'ouverts,
des poitrines percees, des cris, des menaces, du feu, de la fumee,
du sang, des morts . . .' (his brain gives birth to neighing steeds,
bucking, biting, kicking and fighting; men slaying each other in
a hundred different ways; split skulls, pierced breasts, shouts,
threats, fire, smoke, blood, corpses . . .). He likes le combat de
Fribourg because it creates a unity 'de temps, de lieu et d'action
pour l'oeil du spectateur' (of time, place and action in the viewer's
eye). 1
He says of Joseph Vernet, the sea painter, that it is virtually
impossible to discuss his work. It must be seen; but goes straight
on to list its dramatic qualities at length : 'S'il met des homines en
action, vous les voyez agir . . . s'il suscite une tempete, vous
entendez siffler le vent et mugir les flots . . . les matelots crient . . .
une mere pleure son enfant noye, cependant le vent applique ses
vetements contre son corps et vous en fait discerncr les formes . . .
(If he sets men to tasks, you can see them actually moving ... if
he whips up a storm, you can hear the wind howling and the
waves roaring . . . the seamen shout ... a mother weeps over her
drowned child, while the wind presses her garments against her
body and reveals to you its shape . . .). Joseph Vernet painted
without models or sketches, 'avec une vitcsse incroyable' (at
incredible speed). For Diderot, he is what Raphael, Correggio
and the Carracci were in Italy. He quotes one visitor to the
Salon as saying, in an overheard conversation, that Claude
Lorrain was 'encore plus piquant' (still more exciting), to which
another replied: 'd'accord, mais il est moins vrai' (indeed, but
less true).

He is also enthusiastic about Loutherbourg, although he finds

238

Francois Boucher. Nude, drawing.

dim sometimes rather 'cru, et noir dans les ombres' (crude, and
' too black in the shadows). Shadows also have their colours, he
ays in Essais sur la peinture, 'ce sont ces reflets infinis des ombres
:t des corps qui engendrent l'harmonie sur votre bureau' (it is
these infinite reflections in shadows and on objects which create
harmony on your canvas) — anticipating in this the theory of
Impressionism. He insists, nevertheless, that paintings must have
i meaning for the general public: 'Je tourne le dos a un peintre
am me propose un embleme, un logogriphe a dechifTrcr' (I will
have nothing to do with a painter who presents me with symbols
ar sets me a puzzle to work out).

In the Pensees detachees sur la peinture, Diderot cites the example
of a painter who preferred a sketch to a finished oil painting,
il abandonne un tableau finipourune ebauche', which brings him
closer to modern artistic sensibility. The courage and scope ot
Diderot's criticism is apparent when one realises that there was
no authority on which he could call. No standards or models
for art criticism existed. When he began writing about the
Salons, he had not visited either Holland or Italy; and although
! he refers to Titian, Guido Reni, Raphael, Giorgione, Michelangelo
and Rembrandt, he had no proper knowledge of their work. It
was not until he had travelled through Holland, Germany and
Russia in 1773-4 that his horizon was broadened by visiting
some of the great collections. But by then the series of Salons had
almost been completed and the Essais sur la peinture had been
published in Grimm's Correspondance. All that he was to write
on art after his travels were the Pensees detachees sur la peinture,
which was largely based on Hagedorn's Betrachtungen iiber die
Malerei, published in Leipzig.

< Diderot wrote a strong attack on the Abbe Laugier's Maniere
de bieu juger les ouvrages de peinture, which had been published in
1771, and wound up his criticism with this significant description
of his own approach: 'Void ma regie, je m'arrete devant un
morceau de peinture; si la premiere sensation que j'en recois va
toujours en s'affaiblissant, je le laisse; si au contraire plus je le
regarde plus il me captive, si je ne le quitte qu'a regret, s'll me
rappelle quand je l'ai quitte, je le prends' (My rule is this. I halt in
front of a piece of painting; if the first impression of it ebbs away,
I pass on; if on the other hand the more I look at it the more it
captivates me, if I am reluctant to leave it, if it calls me back even
after I have gone away, then I take it).

Jean-Baptiste Greuze. Child with a dog, drawing.

J.-B. Greuze. The paternal curse: The son's punishment. The Louvre.

239

A newly discovered
Limoges ciborium

J. F. HAYWARD

UNTIL the last decade of the eighteenth century the cath-
edrals, abbeys and churches of France must have preserved a
magnificent treasure of shrines, reliquaries and liturgical vessels
made in one or other of the mediaeval enamelling workshops of
the city of Limoges. The French Revolution dealt harshly with
these ecclesiastical treasuries and many of the finest Limoges
enamels were destroyed for the sake of the copper of which they
were made. Others were broken up out of sheer vandalism and
their fragments are now distributed amongst public and private
collections in Europe and America. The larger shrines can never
be re-constructed, but from time to time some extraordinary
chance brings together again parts of the same object that have
been long separated.

Such a chance has recently restored the original foot to an early
thirteenth century Limoges ciborium — the rarest of all the Limo-
ges liturgical vessels. The bowl was sold at Sotheby's in April,
1965, while the foot appeared at the same sale rooms, but from a
different property, sonic three years before. The two parts must
have been separated for nearly two hundred years, perhaps much
longer. It might seem peculiar that the foot and bowl of a cibor-
ium should become detached in this way, but this will readily be
understood when it is recalled that the joint consisted only of a
collar on the base of the bowl, which gripped a rim on the top of
the foot. The mediaeval goldsmiths were not able to solder one
copper surface directly on to another and had, therefore, to rely
on a friction fit.

Apart from the excellence of the fit, additional proof that these
two elements did originally belong together can be found in the
fact that they constitute an almost exact replica of the famous
Alpais ciborium from the abbey of Montmajor in the diocese of
Aries, which is now in the Louvre (see above right). Not only
are the design and the colour scheme of the two bowls identical
but the piercing of the feet with three human figures in short
tunics alternating with dragons within meander scrolls is of the
same pattern. The Alpais ciborium is so known because it is
signed by a certain Magister Alpais of Limoges. The enamels
produced in such large quantities in the various Limoges work-
shops were, with but a handful of exceptions, anonymous; and
the presence of a signature, taken together with its splendid state
of preservation with its original cover, led a modern writer on
Limoges enamels to describe it as 'peut-etrc la plus prestigieuse de
la production limousine' (perhaps the most remarkable example
of the productions of Limoges). Besides the Louvre ciborium and
that here discussed, there is a third ciborium of closely similar but
not identical design in the British Museum and a fourth one in
Barcelona. The differences between the first two vessels are quite
insignificant. The Louvre example has a copper lining to the
pierced foot whereas the other is completely ajoure, and more
interesting. The newly discovered one has a separate lining to the
bowl. The preservation of this lining is probably due to the fact
that it has been fixed to the bowl by means of five copper rivets

that pass through the recessed band below the lip. The fact that
the rivet heads are not gilt and are not evenly spaced round the
bowl makes it clear that they are later additions by a less skilled
hand.

The British Museum ciborium shows the same lay-out of the
bowl with demi-figures of Saints and of angels set within a diaper,
but the diaper is enriched with small turquoises instead of being
plain. The foot is more markedly trumpet shaped and is pierced
with four human figures within scrolls but without the dragons.
The most important difference is, however, the fact that the
heads of the saints and angels are engraved in the body of the
bowl instead of being applied separately as they are on the other
two. These minor variations do not, however, in any way in-
validate our attribution of all three pieces to the workshop of
Magister Alpais. This master is of particular interest as his name
can be found in the records of the city of Limoges of the period
when the ciboria were being made. A legal document of 12 16
refers to a certain J. Alpais and the name also figures on several
lists of the benefactors of the abbey of Saint-Martial in Limoges.
This abbey certainly had Limoges vessels in its treasury and the
cnamellers must have worked in close contact with the monks
who were amongst their more important clients. Whether, as
has sometimes been suggested, there was actually a workshop
within the precincts of the abbey is not known, but it is not
unlikely.

The uniformity of design between the Louvre ciborium and
the three others in London and Barcelona might seem at first
sight disappointing and even cast doubt on the status of the first
as the most remarkable example of Limoges enamel in existence.
In fact, the repetition of a design that had proved successful was a
consistent feature of Limoges workshop practice, and to look

240

left. The famous signed
Alpais ciborium from the
abbcv of Montmajor in
the diocese of Aries,
which is now in the
Louvre. Right. By one of
the strangest chances of
art collecting the bowl
and foot of this example
have just been brought
together after being sep-
arated for nearly two
hundred years. Colour
illustration by courtesy
of Mr. R. A. Lee.

askance at a piece because it existed in more than one version
would involve a complete misunderstanding of the approach of
the mediaeval enameller's client. The uniformity of design that
is so characteristic of Limoees enamel was a matter of choice and
not of necessity ; for all the processes of production were carried
out by hand and variations could be introduced without difficulty.
The bowl of the ciborium was raised with the help of the standard
tools of the goldsmith from a block of copper. The cutting of the
recesses for the enamelled design and the piercing and chasing of
the foot were also carried out entirely by hand. Presumably a

model or graphic pattern was kept in the workshop of Magister
Alpais and further orders were faithfully copied from it.

The reconstitution of this ciborium is particularly fortunate
since it has restored to us a splendid example of early thirteenth-
century Limoges and, moreover, one that displays most of the
techniques of ornament used there : from the border of pseudo-
Cufic lettering at the top of the bowl, through the striking colour
contrast of red and blue enamel within a gilt copper diaper frame
enriched with semi-precious stones and glass pastes down to the
foot, with its lively and rhythmic piercing.

241

Barbara

Hepworth-at

the Rietveld

Pavilion,

Kroller-Muller

Museum

JOHN FITZMAURICE MILLS

IN 1954 the Dutch architect Rietveld was commissioned t(
design a temporary pavilion for the showing of small sculpture
at an International Open-air Sculpture Exhibition in Arnhcn
which was held in 1955. When this exhibition closed the pavilioi
was dismantled, but during the short time of the opening it hac
demonstrated that such a building could play a part in the ex-
hibiting of sculpture. A number of authorities, including Dr
Hammacher (at that time Director of the Kroller-Mullcr) prcssec
for the re-erection of the building, but it was to be nearly ter
years before sufficient finances could be provided for this task.

By May of this year the Rietveld Pavilion had been rebuilt as ;
permanent structure at one end of the Open-air Sculpture Par
attached to the Kroller-Mullcr Museum at Otterlo near Arnhem
The architect, working in consultation with Dr. Hammachc
and others, has set out to provide a building that shall be a com
plement to both the exhibits it shows and its surroundings. Plan
ned as it is to an open-wall design, it is not intended to offe
protection, but rather to provide a varied backdrop for the wor1
of the sculptor. The wall surfaces are deliberately left rough, wit
varied texture; the roof-lines, built in contrasting levels, provide
constantly changing setting as the building is approached and as i
is viewed from different directions. The construction is princi
pally in concrete, but considerable use is made of other surfacin
materials, expanses of glass, steel, and honeycombed walls.

The showing of sculpture, particularly when the pieces are oft
large size, is a problem. Housing them internally in a museum or]
gallery is not always successful as this is liable to cramp the view-)
point and to present them against a confused background ofj
other exhibits. The Sculpture Park at the Kroller-Miiller, with atj
the moment plenty of space, provides an almost unique oppor-i
tunity to reappraise the work of modern sculptors. Here the!
sculptures can be seen from a distance. They can be walked!
around, and they can be appreciated against a fresh background.
The patina of bronzes and the smooth surfaces of carvings haH
monize with the silver birch woods, windswept hills, and broad
expanses of green grass. Yet, with some pieces this could be in-
sufficient, and it is such a lack that the foresight of Dr. Hammacher
and the architect Rietveld have set out to meet. The pavilion
which has been built answers this problem. It stands as a half-way
mark between the relationship of sculpture to the landscape and
to the building.

For the opening exhibition the work of Barbara Hepworth
was chosen, and it included some 68 pieces, by far the largest
exhibi tion of her work to be seen outside England. Dr. Hammacher,
in his opening speech, declared of Miss Hepworth's work:
'Close to architecture is the receptive and protecting quality of
Hepworth's sculptural form . . . . She doesn't confuse, as so many
sculptors now do with intentional ideas, architecture and
sculpture, completely forgetting the different approach and the
different purpose of the space-forms of architecture and
sculpture.'

Barbara Hepworth's works in the Sculpture Park at the
Kroller-Miiller Museum seem to link the past with the present!
and the future. The carvings and bronzes stand either isolated byj
themselves on the lawns or close against the walls of the pavilion.!
They bring a harmony to the scene and remove the starkness of]
the gaunt concrete walls rising against the woods behind. This is a I
new experience, a brave experiment, and one that could well be
recreated elsewhere. The pavilion and the Sculpture Park arc an J
aid in the translation to the mind of the viewer of the conquest
and aspirations of the sculptors working today. The present
Director, Dr. Oxenaar, is to be congratulated on the continued
furtherance of the original ideas of the planners of this Sculpture
Park.

242

The symbolism
of the Israel
Museum at
Jerusalem

PIERRE CABANNE

ON the undulating hills of Jerusalem, at the crossroads of
Europe with the East, the young and active people of the
State of Israel, which is not yet 20 years old, have built one of the
world's most imaginative museums.

In 1958, when it was decided there should be a competition for
the construction of a new building to replace the old Bezabel Art
Museum, twenty-five projects by leading international architects
were submitted. The last to arrive, by Dora Gad and Alfred
Mansfeld, both Israelis, was without doubt the best, because it
respected the nature of the landscape and blended with it. In a
place of so much spiritual significance a success of this sort seems
almost miraculous, but it is happening at Jerusalem. The new
town, to which the museum belongs, composed of the Hebrew
University and its numerous annexes, a synagogue, theatre,
university city, stadium, parliament, ministries and future resi-
dential quarters is a living Brazilia on the scale of a city of the
millennium. Yet this does not spoil the look of it.

The use of local stone, the siting of the buildings in the middle
of the hills, and the gardens which are laid out round them create
a surprisingly rhythmic harmony. The colours, too, are harmoni-
ous: ochre and grey predominating beneath the clearest blue sky.
Cyprus trees break the parallel lines and olives soften the curves.
Nothing is left to chance or imagination. Another thing which
had to be considered was the Byzantine Monastery of the Cross,
part of it dating from the Crusades. Its brown baked walls sit in
the hollow of the Valley of the Cross, and the new museum sur-
mounts them without overpowering them. Nothing here over-
powers its neighbour. Past and future do not conflict, but con-
front and blend with each other.

The museum is a chain of pavilions, set out like an enormous
domino game on the top of a hill with a superb view, forming a
sort of link between the city of yesterday and that of tomorrow.
There is something about these pavilions which is reminiscent
of the old villages in the area. Whether single or in groups of
two, three, or four, they are all connected by glass corridors.
Below, in the sculpture garden — donated by Billy Rose and
designed by Isamu Noguchi — the shapes of the olive trees planted

in the ochre terraces correspond or contrast with the lines of]
creations by Moore, Rodin, Jacob Epstein, Zadkinc, Germainej
Richicr, Archipcnko, Chadwick, Arp, Marino Marini, Etienne
Martin, Gilioli, Hans Uhlmann, Maillol, Bourdelle, Lipchitz and
many more.

Contrasting with the horizontal lines of the pavilions, the great
white dome of the Shrine of the Book looms in its roundnessi
from the black basalt wall. Doubly symbolic, the black, evoking
a 2000 year long darkness in which the Israeli people were!
plunged, contrasts with the white of their resurrection. The con-j
cept of the underground chapel, by the Austrian architect Kiesler,!
is also symbolic. It is intended to be reminiscent of the grotto;
where the fragments of the Holy Books were found, but unfor-j
tunately looks more like an atomic shelter or a strong room at
Fort Knox. This is the only mistake in the Israel Museum. There
is no feeling about the Chapel of the Holy Book, no spiritual
feeling; it has a harsh, tomb-like quality which is out of place.

In the various pavilions, however, the rooms are flooded with;
light, as in the admirably designed Samuel Bronfman archaeologi-
cal museum, richly entrancing, which tells the whole story of the
Bible. The section on Jewish religious art is equally impressive,
containing collections of Persian and Islamic art from the secondj
millennium before Christ up to the eighteenth century A.D.

Continued on page 2481

1. Chaim Wtizmann, the first president of the State of Israel, by Jacob
Epstein. The collection donated by the sculptor's widow after his death in
1959 is to be shown in a special pavilion of the museum. The sculptor has
here caught the nobility of this eminent sitter.

2. The Israel Museum in Jerusalem, designed by the Israeli architects, Dora
Gad and Alfred Mansfeld. The pavilions like some giant domino game,
blend admirably with the landscape.

3. The white dome of the Shrine of the Book which contains the Dead Sea
Scrolls. Rising from the black basalt wall, it contrasts with the local stone. ,

244

4. Samson and Delilah, Chagall's imagi-
nation has had free rein in this 1955 'nk
wash, where the old biblical theme
seems rejuvenated in the fresh treat-
ment. This work, from the collection
of H. and J. Rosensaft, of New York, is
one of the fourteen works by Chagall
exhibited with seven of Lipchitz's
sculptures in homage to the two great
Jewish artists.

5- The Ark of the Law (1701), heavily
ornamented baroque carved wood
from the Venice Synagogue, which
has been entirely rehoused at the Israel
Museum. Given by M.Jacob Michael,
of New York, in memory of his wife.

6. This expressionist work, Woman and
Child, by Lipchitz is reminiscent of
certain Polynesian totems. It stands in
the sculpture garden, presented by the
American director Billy Rose, where
there are already forty important sculp-
tures dating from Daumier and Degas
to the present time.

246

7. Head of Gudea, dioritc. One of the portraits of the famous 'patesi' or
governor of Lagash in Mesopotamia (2100 B.C.) who had his likeness made
in many poses, not without a certain self satisfaction. Donated by Frederick
Mann, of Philadelphia.

8. Isaac blessing Jacob. This drawing by Rembrandt (1640-42), from the
group of drawings and etchings illustrating biblical themes, is heightened
in brown ink and white gouache. It depicts Rebecca deceiving Isaac to
obtain his blessing for Jacob. From the Hofstede de Groote Collection.

247

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The nucleus of the collections of contemporary art was, as foi
the section devoted to Jewish art, the old Bezalel Museum, which
since 1906 had been housed in an old Turkish harem in Jerusalem.'
In this section — devoted to W. J. Sandberg, the former director
of the Stcdelijk Museum, Amsterdam — it is no longer a question
of national art, but international art which has been enlarged by
gifts and loans.

The gifts from artists are important (De Kooning, Rothko,'
Bissiere, Alechinsky Vasarely, Picasso, Bram van Velde and|
others). But those from collectors, above all Americans, are less)
so i and certain works bearing the names of well-known con-j
noisseurs, leave one wondering. Other more convincing works
have only been lent. Altogether, however, it is an interesting!
collection especially of what is relevant to today's art, and the
most important contemporary artists are represented.

Several exhibitions have been planned for the inauguration oil
the museum. One of them is outstanding: Great artists inspired by\
the Bible from the sixth to the eighteenth centuries — Rembrandt,
Rubens, Mantegna, Van Dyck, Poussin, Luca della Robbia are
shown with a group of first-rate tapestries, sculptures, ivories and
illuminated manuscripts, arranged in biblical chronology. There
are forty-seven drawings and engravings by Rembrandt on the
Old Testament. Also from Biblical themes there is a selection of
works by two great Jewish artists, Chagall and Lipchitz. Showing
at the same time is an exhibition of contemporary Israeli
painters and sculptors. This is in the Palace of the Nation near the
museum, of whom, Zaritsky, Arden Bonneh, Streichman, Lea
Nikcl, and Menahem Shcmi, who died in 195 1 appear to be the
best.

This illustrates the diversity and wealth of cultural experience
which Israel is to inherit. The directors of the museum, Karl Katz
and Theodore Tollek, do not merely want to 'preserve', they
want to continue the development of the whole concept, which
in the coming years will have other pavilions built and will in-
clude a film library, a library, departments for industrial art and
art education, with 'free creation' classes, film shows and guided
tours.

An exhibition is planned every six months; the first will be
Munch, followed by Cezanne. What western museum would not
envy such activity >

So a living organism is born, grows and develops. 1 he Israel
Museum, which unites past and present and brings the art of
Europe and America closer to that of the East, admirably sym-
bolizes the resurrection of a people persecuted and harried for
thousands of years and who had six million dead in the last war.
In Israel there are more than two million men who have worked
with the same faith to build the first step of the future between
Athens and Tokyo.

Translated by Mint a Jones

9. 'For Ezra possessed great knowledge so that he neglected nothing that
was in the Law of the Lord.' This painting in tempera and gold leaf on vel-
lum is taken from the 'Conradin Bible', an Italian or Sicilian manuscript,
c. 1260, belonging to the Walters Art Gallery, Baltimore, Maryland.

248

i¥ ♦ » » i »»*^t » • • * * * » •

10. Saint Angustin Enarrationes in Psalmos, a Latin manuscript, probably of
southern origin, and from the ninth or tenth century, which belongs to the
Bibliotheque Nationale, Paris. David is shown beneath a portico bearing the
name of Landulfus who perhaps commissioned the book. Below is written,
a prayer for Anno, believed to have been the scribe.

11. The Bronze Serpent. The well-known biblical story inspired this Mosan
item in champleve enamel, on gilded leather (c. 1150?). It belongs to the
Victoria and Albert Museum.

12. Moses with Tablets of the Law, Rembrandt, 1659. This powerful yet gentle
work is infused with a coppery light characteristic of this artist. Lent by the
Berlin State Museums, it is remarkable both in expressing the spiritual sig-
nificance of the biblical episode and in depicting Moses both as a majestic
prophet and a man. He seems to emerge from the fire bearing his most
treasured possessions.

249

Drawings by

W. J. Muller (1812-1845)

ARNOLD WILSON

DR A W I N G S by William James Muller should be enjoyed
by many admirers of the spontaneous and quickly nung-off
sketch. Whether wandering in Bristol, Wales, or the Near East,
Muller energetically recorded all that appealed to his eye. He was
known never to alter or tamper with his drawings in the studio;
to do this was 'ruin'. His paintings too were frequently finished
after a matter of hours, the loose and vivid brush strokes suggest-
ing this speed of execution.

One of Muller's early companions, J. Skinner Prout, came to
Bristol — Muller's home town — in 183 1 and sketched with him in
various parts of the old city. The Bull Paunch Lane — one of
several lanes leading up to the old Bull Ring — was drawn about
this time. Numerous artists, particularly in the early nineteenth
century, were recording Bristol's streets and monuments with
topographical accuracy, but Muller relished in the romanticism
of crumbling facades and distorted timbers. The picturesque
gutters, twisted against the sky, were designed to empty into the
central drain in the street. The son of a naturalist, Muller as a
child helped his father, and always on his journeys took the
trouble to record accurately any forms which appealed to him.
Since he tended to be absorbed more by the act of drawing and
painting than in bringing the subject itself to life, this attention to
accurate detail frequently lends stability to his art.

The wealth of detail of the Bull Paunch Lane contrasts with the
calculated simplicity of the panorama of Bristol seen across the
Avon from below Rownham Ferry. The quickly rubbed in
accents lend vitality while the idly suggested clouds summarily
reflected 111 the water round off the composition. An exaggerated
form of Muller's play of tones of about the same date is seen in the
Study of Trees inscribed 'Pitch and Pay 1837', referring to a lane
which still exists in Bristol. Muller's sketchbooks abound in these
rapidly suggested scenes. 'How strange it is', he wrote, 'most
amateurs will always go the long road, rather than take the little
hill ! One carefully drawn fragment ... is worth all, I believe,
many men do in their six weeks excursions.'

It was natural for Muller's eager and inquisitive spirit to lead
him abroad. His first trip in 1834 took him to the Continent with
the Bristol artist G. A. Fripp, but his visit to Greece and Egypt in
1838 and 1839 gave a more powerful stimulus. His diary is full of
the excitement of new visual experiences, and, as usual, sketch-
books were crammed with ideas ready to be worked up into
paintings on his return. Strangely enough, perhaps, four British
painters — Muller, David Roberts, J. F. Lewis, and David
Wilkie — all found their way independently to the East between

1838 and 1 841. Travelling back to England, Muller revisited
Cairo and the Pyramids, and then returned via Alexandria,
Malta, and Naples.

Muller died at the early age of thirty-three, and was, in a sense,
still seeking an individual style. One of the most eclectic of
artists, he never hesitated to base a work on painters he admired.
The ghosts, for example, of Claude, Caspar, Ruysdael, Rem-
brandt, and certain of Muller's contemporaries, loom up at us.
Sketches by Constable such as the 'View on the Stour' and 'Trees
and a stretch of Water on the Stour', executed about 1830-36,
must have appealed to him immensely. His Eel Baskets on the
Thames is a homage to and pastiche of Constable. In the early
1840's Muller made several sketching excursions down the
Thames with artist friends. It seems that the days were spent hard
at sketching and the evenings given up to junketings at the
numerous village inns. This sketch bears some relation to the
central motive of the large oil painting at Bristol Art Gallery
entitled Eel Bucks at Goring, dated 7th February, 1843. This
painting again is influenced by Constable's large oil sketches such
as 'The Leaping Horse' which Muller could have seen at the
Executors' sale of the contents of Constable's studio in 1838.
Inscribed on the reverse of the Eel Bucks at Goring is the comment
'Left as a sketch for some Fool to finish and ruin', which must
refer both to the practice of working up uncompleted pictures
and to the contemporary taste for a carefully finished technique.
Neal Solly, in his 'Memoir of W. J. Muller' records that in 1843 |
Muller received from a dealer some damaged and unfinished
works by Constable which Muller 'completed and repaired
rapidly in Constable's manner'. As an ironic postscript several of I
Muller's own pictures were worked upon and completed by
John Linnell.

In the autumn of 1843 Muller set out for Asia Minor on a trip
which undermined his health considerably. Some paintings based
on the large quantity of Lycian sketches — many delicately
washed — were completed and exhibited in London before his
premature death in September, 1845.

1. Study of Trees. Pencil, on paper, 14$ ioj inches.

2. Eel Baskets on the Thames. Sepia wash on buff paper, 15 1 ■ II-J inches.

3. Bull Paunch Lane, Bristol. Pencil, on paper, II 8 inches.

4. Looking across the Avon from below Rownham Ferry. Pencil, on paper,
9s 15 1 inches. These four subjects are the property of the Bristol City
Art Gallery.

250

A

i

The Connoisseur's Diary

Gulbcnkian Foundation and Palacio
Pombal : America's largest Wedgwood display

FOR tin.- first time, the Calouste Gulbenkian
Foundation have put on view a large num-
ber of important art works which have previous-
ly not been known. These are now on exhibition
.it the Palacio Pombal at Oeiras, Portugal, an
historic building belonging to the Foundation,
which in the eighteenth century was the house of
the Marquis de Pombal, Minister to D. Jose I,
King of Portugal. Exhibits include early works
up to those of the twentieth century. A special
feature is made of items from the Middle East
and of the French eighteenth century. This
exhibition will remain open until the opening of
the future Gulbenkian Museum. An individual
catalogue to the Foundation's Guardi paintings
is in course of preparation.

A Wedgwood Catalogue

ONE of America's most impressive and import-
ant art events this year was the exhibition of
Dearly seven hundred items of rare Wedgwood
loaned to that enterprising museum, Paine Art
Center and Arboretum at Oshkosh, Wisconsin.
Particular tribute is paid to Miss M. Mellanay
Delhom, the well-known ceramics authority and
collector, and to Richard N. Gregg, the mu-
seum's Director, for the informative and well
illustrated 28-page catalogue. This is an impor-
tant document to one of the largest displays of
antique Wedgwood ever held in America.
Copies of it are still available, price 1 dollar,
from Paine Art Center.

Grenoble honours Wostan

SUMMER exhibition at the Grenoble Museum
this month, presents the work of the painter-
sculptor-poet, Wostan. This is the first retro-
spective Exhibition of this artist and his work in
a French Museum, although it is well-known in
international circles. As early as 1955 Wostan
was invited to the 3rd Bicnnale of Sao Paolo
(French Section). This year Professor Starzynski,
delegate to the Sorbonne from Warsaw Univer-
sity, makes a special feature in his course of the
universal character of Wostan's work. The
f Grenoble Exhibition is providing an opportunity
of appreciating the creative spontaneity of the
artistic and poetic message of this great painter.

Bulls, Goats, Gazelles

I IN an exhibition of thirty centuries ot Iranian
Art which opened at the Hamilton Galleries in

' St. George Street, Hanover Square, London, last
month, the greater part of the exhibits are
Liiristan and Amlash bronzes of the seventh and
eighth centuries B.C. : unburied hatchets and goat
idols with delicate green and brown patinas. In

; particular, there is a fine whetstone in the form of

the protomes of small goats, with three suspend-
ed sheep bells of aubergine and green patina.
Ceramics are also well represented. The intricate-
repairs of the thin excavated bowls arc a part of
their attraction — the miniature crazy-paving
effect adds an extra element of textural and
visual variety, although, in some cases, where
large patches have been reconstructed, the glaze
has suffered. The glaze, lustrous and iridescent as
pools of petrol, is often used abstractly, but
where there is figurative decoration, as on the
Nishapur ceramics of the ninth to thirteenth
century A.D., it is extraordinarily fresh.

There is a number of rhythons in the exhibit-
ion, in the form of humped bulls, goats and
gazelles. In these Amlash works of the ninth to
eighth centuries B.C., the accent is on shape, and
the terracotta body is left rawly unornamented.
Silver objects of the Sassanidan Epoch (third to
seventh centuries A.D.), include cases and brace-
lets with snakesheads at each end. Perhaps the
most immediately engaging object is a small
statue of polished ivory: an armless goddess, a
kind of Venus d'Amlash. It is carved with a
naive feeling for symmetry, of the clothes-peg
Dutch doll type.

Date with Utrillo

THIS year, tenth anniversary of Utrillo's death
— and in homage to the painter, his mother
Suzanne Valadon, and to Andre Utter — Musee
de l'Ain at Brou is staging an exhibition of their
work, until August 31. On show: paintings and
drawings chosen exclusively from those painted
in and around Saint-Bernard, and from the

period when this extraordinary trio were in
residence at the chateau there.

Cafe Royal: 1865-1965

THE affection held for London's Cafe Royal in
artistic circles was typified by the eminent
committee who organized the Centenary
Exhibition held there in June and July. One
section was devoted to seventy-five contempor-
ary paintings including works by Carcl Weight,
Nolan, and Pasmore, from which Mr. Charles
Forte intends to acquire a number for the perma-
nent art collection. The artistic tradition of the
Cafe Royal was illustrated in the smaller, rather
nostalgic historical section; William Gaunt
provided excellent background notes to these
pictures, mostly on loan from private collections.
The i89o's were recalled by Max Beerbohm's
delightful caricatures of his companions, among
them Oscar Wilde and W. B. Yeats, Will
Rothenstcin, Charles Condor, Gordon Craig
and Walter Sickert, the four last giving an idea
of the men behind other works hanging in the
show. In the same way Augustus John's Lady
Ottoline Morrell, Roger Fry's Nina Hamnett,
Henry Lamb's Lytton Strachey conjure the era of
the 'Bloomsbury' elite. Only Duncan Grant and
Vanessa and Clive Bell were missing. Although
the artists were well represented, only a few
paintings gave any idea of the setting, Sir
William Orpen's sketches being the most
evocative, with his gossipy notes at the bottom.
But the exhibition was intriguing, combining
the famous old face of the Cafc: Royal with a
new and enlightened image.

A Wolf (1913), pen, 15
X 10 inches (H. S. Ede
Collection), signed and
dated on mount. Re-
produced (No. 38) from
Gaudier-Brzeska, Draw-
ings and sculpture, pub-
lished by Cory, Adams
and Mackay (39 Sloane
Street, London, S.W.I.)
at 63/- net. Musee d' Art
Moderne, Paris, is short-
ly to open a room de-
voted entirely to this
artist's work.

255

Contributed by Adrian Bury

Jacopo da Ponte. The Almighty showing Moses the Promised Land. 75 x 100 in. Messrs. Leggatt Bros.

Thomas Barker of Bath. Landscape. 21 X 26 in. Messrs. Stitch and Marti

Impressive Religious Picture *.

JACOPO DA PONTE (?I5I5-I592) was
the most important member of the family of
artists who accounted for several hundreds of
religious paintings and portraits between the
year 1500 when Francesco da Ponte, senior,
began his career and Leandro his grandson died
in 1623. Jacopo known as // Bassano par excellence
studied first under his father Francesco and later
in the studio of Bonifacio Veneziano, but living
contemporaneous^ with Titian he was pro-
foundly influenced by him. In fact, for largeness
of conception and colouring Jacopo approaches
the greatest master of the Venetian School.

A painting by // Bassano (Messrs. Leggatt's
30 St. James's Street, London S.W.i), is an im-
pressive combination of realism and mystical
sentiment. To the dimensions of 75 x 100 in., it
depicts the Almighty showing Moses the Prom
ised Land. In the foreground are a group o
Israelites with a flock of sheep, goats, a pack-
horse, donkeys, camel and dog, and a large
number of domestic utensils. Moses, wearing a
green cloak, is looking up at a vision of God the
Father in the sky. A classical building to the left
and a landscape with ruins in the right fore-
ground complete a conception of singular
power. The picture, in effect, is a magnificent
illustration comparable with such other works
by Bassano as The Animals Entering the Ark, and
The Adoration o f the Shepherds.

Barker of Bath

FEW artists had so fortunate a beginning as
Thomas Barker. Born at Pontypool in 1769 he
migrated to Bath in 1 782, and almost immediate-
ly became acquainted with Charles Spackman,
the wealthy coachbuildcr, who did everything
possible to encourage the lad, providing him
with a studio where he spent a long apprentice-
ship copying the old masters of landscape.
Spackman sponsored his first exhibition in Bath
and then sent him to study in Rome for three
years, allowing him 'a carriage and ample funds
to maintain his position there as a gentleman'.

Barker fully justified Spackman's generous
interest, for after returning to England in 1793
his life as an artist was continuously successful.
Patrons round about Bath, notably J. H. S.
Piggott of Brockley Hall, acquired his pictures,
and Piggott alone is said to have spent .£7,000
on his collection of Barkers. Joseph Gandy built
a Doric house on Sion Hill, Bath, for Barker, a
splendid residence which the artist filled with
rare works of art; and the place still exists and
contains the artist's vast fresco of The Battle of
Scio. Barker seldom exhibited at the Royal
Academy after 1800, but regularly at the
British Institution.

Founding his style in the first place, as did
Gainsborough, on the Dutch landscapists,
Barker has been confused with the greater artist
and many of his works no doubt came down the
ages masquerading as by Gainsborough, but
there is a subtle difference, as can be seen in one

256

John Boultbee. Hunters with a Groom and Hounds in a Parkland Setting. Oil on canvas 38
Messrs. Frost and Reed.

49 in.

if the best that has come under my notice and
! iow at Messrs. Sutch & Martin (11 Bury
itreet, S.W. 1). When acquired it was com-
pletely obscured by time and grime, but careful
leaning revealed the beautiful colour, fine tree
hawing, romantic blue distance and luminous
ky.

Boultbee and Stubbs

OHN BOULTBEE, the sporting artist, was
ibout twenty years junior to Stubbs and sur-
/ived him by six years, dying in 1812. Of all the
ighteenth-century painters of horses Boultbee
omes so close to Stubbs at times that one feels
ie might have worked in Stubbs's studio, but as
ar as I know there is no record of such an asso-
:iation. In any case, Boultbee surely had access
o pictures by Stubbs for study purposes. He
ixhibited twelve paintings in London between
77s and 1788, and thereafter appears to have
apsed from the public eye, whatever private
ommissions he achieved. The Stubbs influence
is regards the Two Horses in a Park (Messrs.
'rost & Reed, 41 New Bond Street, W.i) is
>bvious, though the figure of the groom and the
ittle hounds arc far below Stubbs's standard.
This undated Boultbee is among the best known
lorse paintings done during the second half of
he eighteenth century, and by repeated repro-
iuction and exhibition has concentrated an
aterest in Boultbee, if it has not brought to
ight much information concerning the artist.
W. Shaw Sparrow reproduces it in A Book of
Sporting Painters (193 1), plate facing p. 58, and
Guy Paget in an article, The Countryman and
After, Country Life, Jan. 21, 1944. It has been
:xhibited at the Union League Club, New
York, and at the Ferens Art Gallery, Kingston-
upon-Hull.

The Alwin Gallery

TO display pictures in any gallery is always
something of a problem. Nor is it possible to
give the best effect to every individual painting
under conditions of daylight if many works are
hung. That their pictures have been 'skied' or
hidden in obscure corners has ever been the com-
plaint of artists. Has Mr. Alwin Davis in his
large new gallery (60 Brook Street, W.i),
solved this problem by the use of projectors
similar to those used in film studios? It depends,
of course, on the artist's style, but I must admit
that Mr. Cyril Mann's works in a recent ex-
hibition there, illuminated in this way, looked
attractive and scintillated with the sumptuous
high-key colour that this artist employs. Like-
Wise, Mr. Sean Crampton's horse and man, a
[modern wrought bronze abstraction, was
dramatically emphasized under these conditions.
Mr. Crampton is an artist who makes his im-
provisations intensely interesting, precisely be-
cause they are founded upon scholarly under-
standing of the anatomical facts.

The Alwin Gallery's policy is to encourage
young artists, British, Continental and American
who had proved their talents and are looking for
the patronage that will enable them to fulfil
those talents. A generally catholic taste will pre-
vail and we may expect some stimulating ex-
hibitions under these auspices.

Old Master Drawings

CONSIDERABLE research goes into the
modest catalogues of old master drawings at the
Hal O'Nians Gallery (6 Ryder Street, S.W.i),
and among the more important ones there
recently were several by Caravaggio, for in-
stance, twelve works that were once in an
album in Walpole's Strawberry Hill collection.
They range from pagan and Christian subjects
to studies of animals and birds and designs for
cassoni.

A fascinating drawing by A. Carracci in
black and red chalk and ink, satirizing types of
the Commedia deW Arte, coincides with various
works by this master at Windsor and in certain
Continental galleries. It is interesting to be re-
minded that caricatures of Punchinello and
related figures arc of such early provenance,
since Carracci's dates are 1 552-1602.

Among other famous names in an exhibition
of 1 19 examples are Rubens, Pieter Brueghel the
Elder, Guerchino, Giulio Romano and G. F.
Cipper, called Todeschini, whose Musica Rustica,
a company of young musicians and songsters, is
a spirited and characteristic group.

Nineteenth-century Dutch

THE Dutch and Flemish tradition was so well
and truly founded that it persisted right through
the nineteenth century, and thanks to collective
exhibitions in London during the last few years
we are able to appraise the best artists of that

period. Nor is it without interest that some of
them lived into the present century, immune
from the art-revolutionary tendencies that
followed on Impressionism. C. H. H. Leickert
was one, and among other works by him is an
attractive I lew near Scheveningen (Messrs.
Patterson and Shipman, 19 Albemarle Street,
W.i). Leickert was born in Brussels in 1818 and
died in Mainz in 1907. He worked at The Hague,
Amsterdam, Nieuwer-Amstcl and Mainz, and
was equally proficient with landscape, town-
scape and beach scenes. The artist is represented
in the Rijks-Museum and the public galleries of
Utrecht, Delft, The Hague and Rotterdam.

Engineer, Soldier, Artist

EDUCATED at Ladycross and Downside, and
showing a marked preference for art, Saul Rodd
first studied painting at Perugia University in
1951, and then took a course of engineering at
De Havillands. For two years he served with the
I7th/2ist Lancers in Germany. Then back again
to painting in Canada and the United States.
Three years at the Central School of Arts helped
to develop a personal style with a strong
cubistic accent. Since then Saul Rodd has been
working in London and has held various ex-
hibitions, at the Chiltern Gallery, Collectors'
Gallery and elsewhere. Another one-man show
by this artist, mostly of landscapes in Wales and
the West Country, takes place at the Upper
Grosvenor Galleries (19 Upper Grosvenor
Street, W.i) next month.

257

Watteau, Le retour du bal. Hermitage, Leningrad. Exhibited at the Palais des Beaux-Arts at Bordeaux.

Paris Dispatch

FROM GERALD SCHURR

Braque at the Louvre

THE Braque Donation will be on show in
the Etruscan room at the Louvre until
September 15. This surprising choice of room is
due to the fact that its ceiling was decorated by
Georges Braque on a commission in 1952, which
at the time caused much controversy. The
twenty-one works on show are particularly
important, as until the painter's death in 1963
they hung in his home, the quiet, solid, rather
provincial house built for him by Perret near
the Park Montsouris in Paris. Braque considered
that they were his masterpieces — they trace all
the main stages of his career, from the fauvc
canvases of 1906 to the astonishing ' Sarcleuse' ,
finished just before his death. They illustrate his
Cubism, which, together with Picasso, he
invented, and include sculptures, which in spite
of their small size remind one of the graceful and
sober execution of ancient Greek statues, and
finally jewels, cameos engraved with precious
symbols inspired by the fables.

Works from the Russian Museums,
at Bordeaux

THE festival at Bordeaux has a tradition of

exciting exhibitions of painting and this fif-
teenth festival is no exception. At the Palais des
Beaux Arts they have on show until September 6
'French painting in the Hermitage and Moscow
Museums'. Its span is vast, from Clouet to
Fernand Leger. It could have been a rather bitty
exhibition but in fact the hundred and three
canvases which have been chosen illustrate the
continuity of an aesthetic spirit made up of
successive reactions. The major turning points
are illustrated by important and famous works,
by Le Nain and Poussin for the seventeenth
century and Boucher, Watteau and Fragonard
for the eighteenth. But these classic master-
pieces, which are definite landmarks in the
evolution of French art, have been intelligently
surrounded with paintings which are practically
unknown, by minor painters such as Jean Daret
and Pierre Montallier. The presence of these in
France should allow some fruitful comparisons.

Most of the paintings were acquired by
Catherine II who, advised by some carefully
chosen 'rdbatteurs', Grimm and Diderot in
particular, was able to embellish her Hermitage
with the nucleus of the collection which today
adorns the many rooms of the Palace. Other

paintings come from famous private collections
such as Galitzine, Ioussoupoff and Stroganorf
which were nationalized and brought to the
museum in 1920.

The portrait of Count Stroganoff in 1793, by
Madame Vigee le Brun, who was his mistress,
brings to mind the extraordinary proceedings
which are taking place at the moment. One of
the Count's descendants is bringing an action
against several important international antique
dealers who in 193 1 bought some of the furni-|
ture from the Stroganorf Collection which had
been nationalized by the Soviets and which was
put up for sale at the Berlin auctions. The verdict!
is awaited with interest for if it proves unfavour-1
able to the dealers it could provoke a series of
other trials which might well reduce many
museum collections all over the world and
empty certain private ones.

The modern period is primarily represented
in this exhibition by the discoveries of two 1
Moscow dealers, Morosov for the Impression-
ists and Stchoukinc for the avant-garde. Both of
them had ties with the great Parisian dealers of
their time, Kahnweilcr, Vollard and Durand-
Ruel.and were thus able to collect with rare fore-.

258

sight what the official French critics at the time
were only greeting with sarcasm. Paintings by
Van Gogh, Cezanne, Dcrain fauves, Picasso
cubists, very early Matisses — and many others,
all of course made the property of the state in
1918. They will all go from Bordeaux to Paris,
where they will hang in the Louvre from Sep-
tember 10 to December 15.

Charlemagne at Aix-la-Chapelle

THF. Council of Europe has organised its tenth
exhibition beneath the banner ot Charlemagne.
Appositely it is taking place at Aix-la-Chapelle
(until September ly) and being held simultan-
eously in the famous Palatine Chapel and the
Coronation Room of the H6tel-de-Ville. It is a
very full exhibition, throwing light on the
culture of the Franco-Germanic community at
the dawn of its civilization. Ninth-century
Carolingian art, like Renaissance art, was sup-
remely international — of a period where men of
genius from all parts of Europe were in agree-
ment, and had developments in common which
could not be halted by any 'nationalism'.

Recalling previous manifestations arranged
under the auspices of the Council of Europe,

Mannerism (at Amsterdam), Rococo (at Munich),
Romanticism (in London), the Sources of the
Twentieth Century (in Paris) they have all
helped to establish true values, and to abolish
false judgements which have been corroborated
over the centuries. Here is art at the Emperor's
court in all its glory — the splendour of its
civilization and its posterity, illustrated with
t 01ns, anus, jewellery, manuscripts and minia-
tures, ivories and gold and silverwork, mosaics
and murals. France for her part has lent twenty-
five manuscripts from the Arsenal and the
Bibliotheque Nationale (L'Evangile d'Echtcr-
nach and Theodulf's Bible among them), the
Reliquary of Charlemagne's arm from the
Louvre, the Intaglio of Julia, daughter of the
Emperor Titus in its Carolingian mounting, and
the famous Gourdon Chalice (Cabinet des
Medailles de la Bibliotheque Nationale).

Several of the outstanding works seen last
May in the exhibition of Treasures from the
Churches of France, have been transported to
Aix-la-Chapelle — among others Charlemagne's
well known talisman (once presented to Jose-
phine in gratitude to Napoleon for having
returned to Aix Cathedral the relics which had
been plundered in the Revolution). There are

also the tenth-century Narbonne ivory and the
eighth-century Chasse from Saint-Bcnoit-sur-
Loire. All these arc only a few of the thousands
of exhibits from all countries on the Continent.

The Guardi brothers in Venice

THE exhibition which opened on June 5 at the
Palazzo Grassi in Venice is to continue until
October 10. It is a useful opportunity to compare
the two Guardi brothers, Antonio and Francesco
who, for a long time, have been confused with
each other, often at the expense of one of them.
Professor Antonio Morassi's researches, pub-
lished in i960, show that it was Antonio who,
fourteen years before his younger brother, dis-
covered the particular style of 'atmosphere'
using colours lightly with impressionistic strokes
and flicks of light. This freedom of touch,
lyricism, and the almost sketchy look of the
works were then developed by Francesco with
the ease, imagination and spontaneity which are
so well known. His famous veduti form the most
delightful repertoire of portraits of a town —
Venice, where the water makes the air limpid
and colourful, and whose quivering and sump-
tuous atmosphere was captured with such success
in these paintings.

259

rnnts
in the
modern
manner

ALASTAIR GORDON

PRINTMAKING is an art that has only
recently been fully developed in Britain,
and it needs some clarifying and defining. The
first thing to be understood is that a print is an
original work. Although it is repeated in order to
make an edition of prints, each one has been
hand-wrought either by the artist himself, or by
a skilled printmaker working in close collabor-
ation with him. Mechanical processes such as
photo-lithography are frowned upon by the real
artist-printer.

We are not dealing, therefore, when consider-
ing the various techniques of printing, with a
reproductive process, an inferior offshoot of fine
art, but what is a fine art itself. The most in-
genious processes ever devised to reproduce a
painting do not convey the sensuous delight and
personal touch of the original. The surface, the
texture of paint, the precise subtleties of colour
the richness and sensitivity of line revealed by
visual contact with the work cannot ever be con-
veyed vicariously. Thus it is witli the genuine
print which has from the very first had the
creative touch of the artist's hand and mind in
the original conception, through the handling
and working of block or plate, the processing of
it, and finally to the unique fact of the printed
sheet of paper.

Printmaking is for the artist craftsman: what
he produces is a work of art in its own right
which is not imitating the painter or graphic
artist. Effects are achieved which are impossible
with the direct application of pen or brush. A
good print can be experienced almost physically,
it possesses tactile qualities that make one want
to caress it with hand and eye. This is the
inevitable result of the artist's feeling towards
the materials which he has selected. He has
chosen a plate or block or stone which is going
to be sympathetic to his first conceived idea. His
tools may be adapted from other uses, he may
even have invented his own ; the inks he uses are

of the consistency and chemical ingredient
exactly suiting his style, the paper will be hand-
made for him, the printing press set to the pres-
sure that is for him alone.

The four main printing techniques reproduced
here are each capable of infinite variations.
Imagination has free play without losing purity.
Valerie Thornton's etching is far removed from
the conventional expectations, but like any etcher
since Rembrandt she has worked on a metal
plate, etched it in acid, scraped and honed and
polished, applied ink and wiped it, and then
made individual prints with a press that in
principle has not changed in centuries.

From whence have come these startling devel-
opments, this expansion of the uses of materials?
The great influence on British printmaking has
been S. W. Haytcr, the brilliant founder of a
famous atelier-workshop for printmakers in
Paris: he opened up the potentialities of printing
mediums. In the last decade Michael Rothenstein
has revealed the beauties inherent in two materials
printed together so that different textures and
densities can together ravish the senses.

But the list of printmakers is too long to quote,
even though it contains immensely distinguished
names. Sculptors, painters and graphic artists
have taken to printing as much as the full-time
printmakers themselves. After a slow start this
country is following other countries, particularly
France, America, and — the father-nation of fine
printing — -Japan.

A vital need for printmakers is that they should
not work in isolation. No other medium thrives
so well on the atelier principle. There are plans for
the artists themselves to form a Printmakers
Council with the avowed intention of protecting
the standards which they so jealously and rightly
uphold. This will not be done in order to be
exclusive and esoteric, but indeed the very
opposite. The Council will aim at a wider under-
standing of the printing art, it will encourage art

Ceri Richards. Trafalgar Square, II, 21 x 30J in
Lithograph — colour. Edition of 75. Lithography
is based on the natural antipathy of oil and water.
The image is made on the stone (or a specially
granulated zinc plate) with greasy crayon or ink.
the texture of the stone is such that, if moistened,
the water adheres to it in an even film excepl
where the grease has been applied ; when a
roller charged with heavy ink is applied to tht
moistened surface, the ink adheres only to the
greasy areas. After printing, the greasy image
remains on the stone and the process of moisten-
ing, inking and printing may be repeated
Editions Alecto.

schools and students, hold exhibitions, and act a
a centre for printmakers from the wide world t
meet and work together. They want to se
serious print collections formed, either on i
national, or provincial, or private scale. In othei
words, they want to see a greater understanding
and recognition of the aesthetic value of prints
and demonstrate the difference between tht
genuine article and the photo-lithographic pro-
duction.

In the last few years the publishing of print:
has been greatly developed by Editions Alecto.
taking over the pioneer work done by Roberi
Erskine at the St. George's Gallery. Alecto nc*',
only have their own gallery, the Print Centre ii
Holland Street, but also workshops for artist:
both from home and abroad. This is an exceUen'
venture, since they arc not only providing facili-
ties for artists to work, but also exhibiting thei:
work. But the greatest contribution Alecto an
making is through a well organised productioi
and publicity department which sells prints t<
public bodies, to schools and colleges, hotels
shipping companies, as well as private collectors
It will be obvious that the work and time anc
skill needed to produce an edition of print

260

Michael Rothcnstcin. Red & Dark Blue, 29 X
21 in. Block print — coloured. Edition of 35. The
basic principle of all relief processes is that of
cutting away part of the surface of a flat block so
that the desired pattern or image stands up to
provide a printing surface. Other materials used,
beside wood and metal, include linoleum, lucitc,
cardboard, chipboard, composition board, plas-
ter and cut paper. In the cases of cardboard or
paper cuts, the areas are built up to provide the
printing surfaces. Editions Alecto.

Eduardo Paolozzi. Wittgenstein in New York,
Series 6. The stencil process has been known to
artists for centuries. Its basic principle is that of
applying colour or inks to the perforated or cut-
out sections of specially treated paper or thin
material so that the desired pattern or design
comes through the stencil to the surface to be
printed, thus all sections except those of the
open design are masked out. The most recent
development of the stencil process has been in
silk-screen printing, or serigraphy. Variations of
this technique are sometimes combined with
engraving or etching to produce colour prints.
Editions Alecto.

demands a proper financial return to the artists,
yet a print by a celebrated artist will cost only a
tenth of the price of a painting and will be as
aesthetically rewarding.

Editions are limited in number: twenty-five
or fifty or seventy-five and so forth. Each print
is numbered and signed and after the printing
has been completed the block or plate is usually
destroyed. Between five and ten per cent of the
prints in the edition are 'artist's proofs', selected
by the artist as coming nearest to the ideal he
wanted. Since every print requires an individual
inking frequently in several colours, there are
bound to be infinitesimal variations in each
printing. These artist's proofs, are of course
collectors' items and will appreciate greatly in
value.

As well as Alecto, the Curwen Press are
publishing prints, the Kelpra Studio has done
wonderful work in silk-screen, and various art
galleries, among them Marlborough, Redfern,
and Zwemmer, have formed prints depart-
ments.

The intending collector should know that
printmakers are absolutely dedicated, but also
very friendly and anxious for the public to know
their work. Indeed everyone connected with
prints has a proselytising zeal born of the excite-
ment and beauty of the medium. They want
people to see the studios and workshops so that
they can collect as it were, 'hot from the press'.

As a means of the wide dissemination of art
throughout the whole culture of the country
nobody offers a better or cheaper opportunity
than the artist printers.

The galleries: Editions Alecto, 8 Holland Street,
London, W.8. Marlborough Gallery, 17-18 Old
Bond Street, W.i. Redfern Gallery, 20 Cork Street,
W.i. Zwemmer Gallery, 26 Litchfield Street,
W.C.2. Curwen Gallery, 1 Cohille Place, Whit-
field Street, W.i.

Valerie Thornton. Eton College Chapel, 15 \ 21^ in. Etching and aquatint. Edition of 100. The prin-
ciple of these intaglio processes is that the printing areas are lower than the surface of the metal
plate. The lines or surfaces which are etched out or cut away from the plate carry the ink; the high-
standing areas are wiped clean and do not print. Chiefly copper plates are used, though some
artists use lucite, zinc or aluminium sheets. The intaglio processes are : engraving, etching, aquatint,
mezzotint, and dry point. Editions Alecto.

26l

Books Reviewed

Guns and Mr. Blackmore

GUNS AND RIFLES OF THE WORLD:

By H. L. Blackmore. (London: Batsford,

1965- X/7 7S. net.)

IN the four years since the publication of
Howard Blackmore's British Military Fire-
arms 1650-1850, it has come to be accepted as a
classic monograph of its genre — accurately
focused, well documented and precise. His
second book was a lightweight paperback about
firearms in general. On first sight, he appears
now to be aiming at the luxury market with
Guns and Rifles of the World, but this admirable
book is no mere coffee-table adornment. Price
apart, it is an excellent introduction to a subject
which new research makes daily more complex.

This is a companion volume to Claude Blair's
European and American Arms, which came from
the same publishing house in 1962, and shares its
format. A vast accumulation of photographs
accompanied by brief captions is introduced by a
succinct but authoritative discussion of the his-
tory and development of the weapons covered in
this volume under the headings The Hand-Gun,
The Matchlock, Wheel-locks, Flintlocks, Per-
cussion Locks, Breechloaders, Multi-Shot Guns,
and Air, Steam and Electric Guns, the last four
sections being further subdivided.

But however good its text, a book of this type-
stands or falls by the quality, quantity and range
of its illustrations. Mr. Blackmore, a prolific-
author of original firearms articles and a meticu-
lous researcher, has assembled over 800 photo-
graphs of guns and rifles, plus more than 250 line
drawings of mechanisms, bayonets, butt pro-
files and projectiles. These alone will be worth
the book's price to most students of firearms, as
so many have never before been published. One
can be sure that Guns and Rifles of the World will
deservedly nudge a number of other recent
general works on firearms from their owners'
shelves. — William Reid.

WATCHES: By Cecil Clutton and George
Daniels, pp. i-xvi, 1-159. 19 figs, on 2 coloured
plates, 578 halftone figs., 2 line drawings,
medium 4to, blue cloth. (London: Batsford,
1965- £7 7s.)
OVER the past twenty years the tastes of collec-
tors of watches have changed greatly. Previously
the early decorative examples in enamelled,
jewelled, engraved or repousse cases were most
prized. Today the trend is towards the mechan-
ical aspect of the movement particularly in pre-
cision watches of the 1770-1830 period. Al-
though the record figure of £27,500 f°r a
Breguet watch may appear fantastic there has
been a general rise in saleroom prices through-
out. Clearly the time is ripe for an authoritative
guide which will help collectors to assess the
intrinsic merits of an antique watch and to make
a reasonable- valuation. The historical and tech-
nical survey now provided by the authors is a

remarkable advance on that of the earlier text-
books, with much new information and a fresh
interpretation of the old. Written primarily for
the serious student, the book nevertheless pre-
sents its technical matter in a style at once under-
standable and instructive for the less advanced
newcomer.

This is particularly so in section 3 of the book
in which, after a discussion of the working
efficiency of such elements as fusee, spring tor-
que, balance compensation and escapements, the
development of 11 types of escapements and
their variations is expertly described at con-
siderable length and illustrated with a series of 49
photographs in which the parts are ingeniously
set up apart from their movements; these were
taken by Mr. Daniels. Here, as throughout the
book, the authors state their views with positive
conviction and refrain from quoting references
to published accounts either by themselves or by
other authors — except for a few citations in the
text. Some of these views are likely to make the
most formative impact on the less advanced
student but may well provoke controversy
among those familiar with old accepted ideas.
Nevertheless, the result is a technical treatise of
unequalled merit.

Again in the historical section, the whole
question of credits for inventions is reviewed.
Who really invented the balance spring, the
lever escapement, its English and French types,
the draw? Here one is given conclusions drawn
from the most recent discoveries, many of
which were unknown only a few years ago. The
authors leave one in no doubt as to how they
interpret the new facts.

In the section devoted to decoration there is a
useful compact classification of the various forms
of enamelling and treatment of metal and crystal
eases and outer cases, which outlines how they
were produced and the periods in which each
was fashionable. Pendants, dials and hands
receive the same progressive ascription.

Mr. Clutton has personally tested the per-
formance of early watches while worn in the
pocket. Although a strictly scientific method of
comparative sampling was not used, the tests do
reveal surprisingly good time-keeping by old
watches that have suffered some wear.

The 597 illustrations arc conveniently grouped
in a single series after the technical section and in
2 coloured plates (the- latter also used for the dust
cover). These are well cross-referenced to the text
and vice versa, but with the odd omission of
captions and serial numbers to the 2 line draw-
ings by Mr. Cresswell.

There is a section of biographical notes on
men who influenced the progress of watch-
making, which should be read in conjunction
with the main text. For example, the paragraph
on A. L. Breguet on p. 129 is a very short
abstract of the full story of Breguet and his firm
on pp. 46-61 and 1 18-120. The index is very

helpful in tracing the more scattered references
to makers.

This review may be concluded with a few in-
triguing quotations: 'Without question the out-
standing watches between 1675 and 1750 were
British' (p. 74). The variant experimental dials
of the late seventeenth century are 'a consider-
able prize for any collector' (p. 76). 'The collec-
tor . . . may still obtain the finest work of the
19th century at a remarkably modest price'
(p. 63). But 'with . . . the final rate determined
by the chemist and metallurgist the modern
watch has not the interest of its predecessor'
(p. 101). And finally, what to some may be
heresy, the pendule sympathique was 'Breguet's
most advanced flight of misapplied ingenuity'
(P- 55). while its successor of 1805 was 'the
crowning folly to the first sympathique' (p. 56).
— C. F. C. Beeson.

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TROPHY OF CONQUEST. The Musce
Napoleon and the creation of the Louvre:
By Cecil Gould (London: Faber and Faber.

28s.)

THIS short, severely technical book sheds much
light, some of it new, on the greatest plunder of
art treasures in history. When compared with
Napoleon's, the cultural annexations of Adolf
Hitler look like an expedition to the Portobello
Road; though Mr. Gould points out that
Napoleon did not appropriate 'all the three-star
works of art in Europe', but bagged less than
half.

Fashionably, Mr. Gould passes no moral judge-
ments, remarking only that the confiscations
were a direct result of aggressive warfare. 'If that
was ethically justifiable, so were they. If not,
not.' This was not the general view in 181 5, but
stern moral approval when Napoleon's loot
was forcibly restored. On the other side was one
of the ideologies of the Romantic Age, which
tended to see Napoleon as the hope of liberalism
and the heir to the French Revolution. Among
the English radical Whigs who even regretted
Waterloo, there was more than one tourist who
expressed his indignation at the sight of the
Louvre, stripped of its treasures under a guard of
British soldiers. In The Examiner William Hazlitt
declared that Napoleon had made the Louvre 'a
means to civilize the world'. There was nothing
sacrosanct in the location of works of art. 'If
works of art are to be sort of fixtures in every*
country, why are the Elgin marbles brought here
for our artists to strut and fret over this acquisi-
tion to our glorious country?'

Mr. Gould might have given us other facets of
this still living controversy. He might have
given us a glimpse of the epic behind the routine
of packing and removal, a touch or two suggest-
ing sabres, chargers and battle smoke, and the
anguished cries of liberie. In a bare 130 pages he
has left himself room for little more than an
identification parade of displaced pictures which

It Slid

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262

tnight just as well have been entitled The Deputy
Keeper's report on the Department oj Circulation,
I-1814, He is a little more lively when he
han lies administrative disputes and he w rites
usefully of the successive changes in the Louvre,
but with a prolixity that can be very trying. The
works of Edmund Law, Bishop of Carlisle, were
held up in the press while his printer searched
the country for another pound of parent hoses.
Mr. Gould does even better. While he has at
least four sets of parentheses to each page, he is
vers shy of using commas. Kunstgeschichte must
not, I suppose, be made to look too easy, but it
requires a high I.Q. to disentangle the following
average specimen in less than three readings.
'But if Le Brun was concerned to the extent that
we have seen at the receiving end it would be
natural for a man as eager as he consistently was
to assert his knowledge to volunteer to assist the
departing field team even if they had omitted to
request it.'

The brave and the patient who have pene-
trated a number of these thickets, will be re-
warded in the end by the accuracy of Mr.
Gould's research work. I am sure that not a
single personal name has been mis-spelt. And,
as .1 fellow-sufferer, I am sure that he could not
have written of 'Titian's religious style in the
1 4 s o ' s . ' It was a Gremlin which got into the
printing press after the return of his page-proofs.
— Gerald Rcitlinger.

AN INTRODUCTION TO ENGLISH
PAINTING: By John Rothenstein (London:
Casscll. 30s. net.)

THE fifth and scrupulously revised edition
bungs Sir John Rothcnstein's well-known sur-
vey of the course of English painting from
mediaeval art down to the nineteen-fifties, to
the sinister influence of Francis Bacon. It is next
to impossible for an art historian to preserve his
individual style, or to disclose his insight into a
master's mind, in a brisk tour of a thousand
years covered in some hundred and fifty pages.
Sir John is not sparing of numerous names and
attendant dates — names occasionally as little
known as that of James Stark of the Norwich
school. The public and private owners of works
arc often given. It is remarkable that the pace
and proportion of his narrative successfully sur-
vive such precision of detail.

Necessarily sacrificed, however, is that dis-
tinctive quality of mind expressed in flashes of
sometimes mordant irony, in significant digres-
sions— all in an audible tone of voice which
renders this author so attractive when he has no
need to sprint. His essays on modern English
painters can, indeed, be turned to again and
again for their easy felicity of style, and fre-
quently most illuminating or courageous inter-
pretations. As a very concise historian of British
painting, on the other hand, Sir John is obviously
rivalled by chroniclers as knowing in the art as
Mr. William Gaunt. This writer's tendency to
paint his panoramic canvas rather more broadly,
throwing the major figures into greater relief,
allows him to stress his main points with
arguably greater clarity and individual effect.

This, however, might seem to be carping
unduly at a book whose value to students and

enquiring laymen has been proved over thirty
years. The volume takes account of the striking
revaluation, for example, which has taken place
more recently of the art of George Stubbs,
'among the greatest animal painters of the
world', as Sir John declares roundly. The grand
achievement of Stubbs' highly developed pic-
torial imagination is here adroitly summarized
in little over a page, and the sporting and
animal school in general receives its proportion-
ate due.

From the opening chapter on our surviving
legacy of monastic illumination and wall-
paintings, the key-note is the author's abiding
attachment to English painting. He is a scholar
who is not constantly concerned to depreciate
(as pedants will) whatever in native art might be-
held to fall short of its continental counterpart.
Of course he knows the vicissitudes. But the
triviality of the run of Victorian popular anec-
dotage is dismissed with a lightness of touch in
contrast with the heavy scorn of a Roger Fry.
Sir John's optimistic conclusion is in key with
the buoyant tone of his survey. English painting
in the present century, he decides justly, is
marked by vigour and enterprise and original-
ity. 'Even though there be no towering genius
such as Constable or Turner, the present century
of painting, however confusing at first sight, is
not inferior to any that has preceded it.' —
Nevile Walhs.

HOW TO IDENTIFY OLD MAPS AND
GLOBES: By Raymond Lister. (London:
G. Bell and Sons, Ltd. 1965. 70s. net.)

THE latest addition to the 'How to Identify . . .'
series is a very readable book full of interesting
information. It begins with an outline of the
history of maps and charts which covers nearly
two thousand years in some thirty pages. This is
followed by short chapters on celestial maps and
charts; methods of map production; decorative
and conventional signs and terrestrial and celes-
tial globes and there is a reprint of a useful
article by Mr. Edward Heawood written in 1924
on the use of watermarks in dating old maps and
documents. More than half the book is given to
a list of cartographers, engravers, publishers and
printers concerned with printed maps and
globes. In this the many bibliographical and
other pitfalls which beset the path of carto-
graphical history have not been entirely
avoided. Perhaps the most commonly collected
early maps in England arc those which were
prepared by Robert Mordcn and published by
Edmund Gibson in the 1695 and 1722 editions of
Camden's 'Britannia'; Mr. Lister's entry under
'Camden' makes no mention of cither Morden
or Gibson; the entry under 'Morden' says that he
was the publisher (which he was not) of editions
(unstated) of 'Britannia' ; there is no entry for
Edmund Gibson. There are similar instances
throughout the list and collectors and dealers
should therefore use it with caution. (Mr. R. V.
Toolcy, the author of Maps and Map-makers is
producing a list of the same kind embracing a
longer period and with many more names, the
first part of which has already appeared as No. 16
in the Map Collectors' Scries.)

No short book of this kind could in itself help

English Ceramic Circle
Transactions

vol 6 pari 1

just published price £3

This fully illustrated number

can now be obtained from

Cory Adams & Mackay Ltd

Fair Row, Chatham, Kent

who can also supply all past numbers

Price list will be sent upon application

much to identify maps but Mr. Lister could have
done more to justify the title had he included in
his select bibliography more of the detailed
catalogues and lists of maps and atlases which arc
indispensable for the collectors in the fields they
cover, and had he explained how these and other
books helpful in identification can best be used.
The bibliography contains a number of erudite
works which are concerned with specialised
research and unlikely to be of much interest to
budding collectors. Mr. Lister could also have
been more original in his choice of plates. Most
of these illustrate maps which have already been
reproduced in books and facsimiles still in print.
Although the book is intended to be of practical
assistance to collectors and dealers there is much
of interest to the general reader. — A. D. Baxter.

A HISTORY OF SPANISH FIREARMS:

By James D. Lavin. (London: Herbert Jen-
kins Ltd. 63s. net.)
SPANISH gunmaking has had two early histor-
ians, both Madrid gunmakers by trade, of whom
the first wrote in the seventeenth and the latter
in the eighteenth century. Until the publication
of the book reviewed here the statements made
by these two writers have been accepted with-
out question, despite the fact that both wrote
about events many of which had occurred long
before their own lifetime. Dr. Lavin has now
gone back to the original sources and, as a result,
has thrown entirely new light on his subject. As
a research worker he possesses the inestimable
advantage of being an expert on Spanish ety-
mology and he has been able to make his way
through a mass of hitherto undisturbed material
preserved in the Spanish archives. He has
succeeded in transforming our knowledge of the
early history of Spanish firearms and has thereby
rendered everything hitherto written on the sub-
ject out of date.

One of his most interesting discoveries relates
to the history of the well-known clock- and gun-
making family of Augsburg, the Markwarts.
Following the statements of the early Spanish
writers, it has always been assumed that the two
Markwart brothers, Simon and Peter, arrived in
Spain during the reign of the Emperor Charles
V possibly as early as 1530, the date on the
earliest of the fire-arms bearing the mark of a
member of the Markwart family preserved in
the Madrid Royal Armoury. Dr. Lavin has, as a

263

IMMORTAL SHIP
The Cutty Sark

and Other Poems

By ADRIAN BURY

Readers of The Connoisseur need no intro-
duction to Adrian Bury, for he has contributed
to this magazine for over twenty-five years.

As well as artist and art scholar, Adrian
Bury is also a poet in the tradition, and those
who are interested in rhyme and reason
should be interested in his latest book of
verse, published by

CHARLES SKILTON LTD.

50 Alexandra Road, Wimbledon, S.W.19
Price i2/6d.

result of his researches in both Madrid and Augs-
burg, established that Simon and Peter were not
even born when this particular pistol of 1530
was made and that they can hardly have arrived
in Madrid before about 1570. It follows that all
the earlier Markwart pieces in the Royal
Armoury were made not in Spain but were
exported from Augsburg, where they had been
produced by Bartolomaus Markwart, father of
Simon and Peter.

The author's knowledge of ancient Spanish is
revealed in his occasional disquisition on some
obscure technical term, as also in the excellent
glossary of old Spanish gunmaking terminology
which concludes the book. The subject is fully
illustrated with So pages of plates, some of
which are too darkly printed, with a large
number of line drawings and with reproductions
of the marks and counter-marks of the leading
makers. — John Hayward.

GOTHIC MURAL PAINTING IN BO-
HEMIA AND MORAVIA 1300-1378: By

Vlasta Dvorakova, Josef Krasa, Anczka Mcr-
Bautova and Karel Stejskal. (Oxford Univer-
sity Press. 55s. net.)

THE mural painting of Bohemia and Moravia in
the fourteenth century is not a subject of such
obvious general interest that a commercial con-
cern could assume the burden of publication un-
aided. That a book of this kind can be produced
in a foreign country is one of the advantages to
be had from the existence of state sponsored
organisations such as the Institute which is res-
ponsible for this study, published in England by
the Oxford University Press at a very modest
price for so handsome a volume. In the West we
rely on the generosity of wealthy patrons for the
support of such ventures; but whatever the
source of patronage, it is desirable that special-
ised volumes of this kind should be written and
translated, particularly at a time when tin-
frontiers of Eastern Europe arc formidable
enough to debar all but the most ardent travel-
lers.

At no time in history were these frontiers less
of a barrier than in the period when the Luxem-
burg Charles IV, brought up in France and the
protege of Pope Clement VI, was Holy Roman
Emperor and used his rich family lands in
Bohemia and Moravia as one of the foundations
of his power. He made Prague the capital of the

Empire and there was a consequent assimilation
by these Eastern lands of the culture and civiliza-
tion of France.

Although panel paintings and manuscript
illuminations of high quality were produced in
the Czech lands at this time, it was in the art of
mural painting that the religious fervour and
new found national aspirations found their
natural expression. The mural paintings that
survive in unusual numbers, though derived
from the art of France and Italy — the influence
of Giotto is apparent in the Emmaeus cycle —
have an unmistakable local character of their
own.

The admirable illustrations to this volume
often reveal a vigour of line, a fluidity of move-
ment, a wealth of individual characterization
and, in so far as it survives, a subtlety of colour
that is very remarkable at this period. Some of
the paintings in the Emmaeus Monastery at
Prague and at Castle Karlstegn can be judged by
the highest standards, among them the lovely
Annunciation from the cloister of the monastery
(illustrated in colour) and the astonishing draw-
ing of St. John the Baptist from the castle's
Chapel of the Holy Cross that in illustration
might be thought to have come from the sketch-
book of a Florentine master of the quincento.

All the surviving murals arc described, cata-
logued, analysed and placed in their historical
perspective with scholarly thoroughness, and
there is a most comprehensive bibliography. The
translation is admirable, and the book will no
doubt remain for a long time the standard
work on an important field of European Art. —
N icholas Edwards.

ENGLISH AND IRISH ANTIQUE

GLASS: By Derek C. Davis. (London:
Arthur Barker. 50s. net.)

COLLECTORS arc turning more and more to
the fascinating opportunities offered by antique
glass. This entirely factual book is intended to
assist in the appraisal of their finds. The author, .1
well-known London dealer of many years'
experience, opens with a chronological survey
of the various features that went into the design
of drinking glasses from 1685 to 1800, classify-
ing them into five well-defined periods. Line
drawings illustrate 16 bowl-forms, 12 stem knops
and five early types of feet. In addition, there is .1
lavish display of 94 photographs illustrating
more than 260 specimens and a frontispiece
showing an early nineteenth-century model in
glass of an Irish glass-cutter at work on a
decanter.

There is a survey of 'Special Types of Glasses
Attributed to Specific Drinks and Beverages',
including those intended for ale, cordial, cham-
pagne and cider. Claret glasses are described as
being of larger capacity than ordinary — more
like small goblets. Engraved, cut, gilded and
enamelled decorations arc fully discussed.

An unusually interesting section described ten
types of glass pictures. Here the author reveals
that crystoleums were merely tinted photo-
graphs stuck on the inner surface of convex
glass.

The final chapter gives valuable advice on
buying antique glass, the types to avoid, with

comments on the fakes and reproductions to be
seen in every town. Mr. Davis stresses the little-
known fact that the long sonorous ring of flint-
glass is no longer a conclusive test of authen-
ticity: modern leadless glass emits the same pro-
tracted ringing note when flicked with the finger
nail. He records, too, that the United States
recognises as antique glass that made earlier than
1830; in Canada the date is 1847; and a century
for Australia and other countries. Yet, curiously,
it is stated that English wine glasses from 1800
are of no interest to the collector. — G. Bernard
Hughes.

EDVARD MUNCH. MASTERPIECES
FROM THE ARTIST'S COLLECTION
IN THE MUNCH MUSEUM IN OSLO:

By Johan H. Langaard and Reidar Revold.
(Oslo: Forlaget Norsk Kunstreproduksjon.
London : Allen and Unwin. £7 7s.)
ARISTIDE MAILLOL: By Waldemar
George (London: Cory, Adams and Mackay,
1965. £6 6s.)

MUNCH and Maillol both died in 1944,
honoured octogenarians in their respective
countries. By a further coincidence, twenty
years later, the Munch Museum was opened in
Oslo and several works by Maillol were placed
on permanent display in the gardens of the
Louvre. Studies on the two artists in English are
far from plentiful and the two books under
review help in varying degrees to fill the gap.

Munch left a considerable number of paint-
ings, many of them major works, together with
sketches, prints and writings, to his native Oslo.
Appropriately, the Director and Keeper of the
recently opened Munch Museum have com-
bined forces to produce an account of Munch's
art based on examples drawn exclusively from
the works now in their care. The result is an
admirable monograph, in which the authors
have resisted the temptation to lose themselves
in subjective searchings for souls and symbols.
Equally, the influences on Munch's art are never
under-played. He created a distinctively per-
sonal imagery, but in doing so he drew susten-
ance from many sources — Pissarro and Gauguin,
Rops and Rossetti, Strindberg and Nietzsche.
Considerable use is made of Munch's own writ-
ings, which throw a valuable light on his in-
tentions— and his struggles. The 62 illustrations,
many in colour (and of reasonable quality),
cover the whole of the artist's development in all
media. There is a detailed list of exhibitions and a
full bibliography down to 1962. Only an index
is lacking.

The volume on Maillol is much more dis-
cursive. The text is by Waldemar George, him-
self a friend of the artist and for long one of his
major apologists (the excellent bibliography
cites books by him from 1927 onwards). The
essay, however, is marred by a lack of critical
judgement. A flowery, rhetorical prose, admir-
able in French, falls rather flat in translation. No
attempt is made at a survey of Maillol's develop-
ment (true, the variations are slight, but the
effort is w-orthwhile) ; instead, we are given
separate sections on the sculpture, the paintings,
the drawings and the book illustrations, with a
touching tribute to the relationship between

tern

264

Maillol and the model of his last decade, Dina
Vicrny, who here contributes a biography of her
master. The tone throughout is one of unquali-
l fied praise ('He is the equal of the great creators
of all time and of every country') and it is
absurd to use him as a sort of UNESCO
mediator ('This Latin, or rather ( iailo-Roman
sculptor, extended his hand in friendship to
India and China . . . Maillol discovered the
principles of a universal language which en-
ables mankind to live together in peace'). The
volume, however, contains some splendid
illustrations of all aspects of Maillol's work, a
comprehensive bibliography and a list of the
most important exhibitions. In these respects, it
forms an indispensable work of reference. —
Ronald Pickvance.

BOOK PRODUCTION NOTES

by Ruari McLean

A MAGNIFICENT gift of books by the late
Mine Louis Solvay to the Royal Library of
Belgium has been worthily marked by a 3-
volumc Catalogue, of which Part 2 is the first to
appear. It comprises a representative collection
of French illustrated books and bindings from
the time of Manet to the present day. It contains
one colour plate of a superb binding by Paul
Bonet and numerous other monochrome plates
of illustrated pages and bindings. The Catalogue,
edited by Franz Schauwers, describes eight hun-
dred and seventy-eight books meticulously, in
accordance with the high standards of all cata-
logues issued by the Royal Library of Belgium.

Reproductions from Illuminated
Manuscripts

Reproductions from Illuminated Manuscripts, Series
V, just published by the British Museum at
£1.5.0., contains fifty collotype monochrome
plates illustrating some of the principal Manu-
scripts acquired by the Museum since the Fourth
Series of these reproductions was issued in 1928.
The acquisitions include the Yates Thompson
manuscripts ('the greatest benefaction of its kind
which the Museum has ever received'), the
Luttrell Psalter, the Bedford Hours and Psalter,
the Evesham Psalter and the Gorleston Psalter.
The plates, which like the previous series are all
loose, are accompanied by succinct scholarly
descriptions of the MSS. It is a great pity that the
reproductions are not in colour. These collo-
types are not a very notable tribute either to
mediaeval or modern craftsmanship.

New drawings by Shahn

November Twenty Six Nineteen Hundred Sixty
Three is a poem by Wendell Berry (that first
appeared in The Nation) on the assassination of
President Kennedy, illustrated by Ben Shahn.
Of the poem, Shahn says: 'It was right in every
way; it was modest and unrhctorical. It ex-
amined soberly and sensitively just this event in
its every detail. Its images were the images of
those days, no others." He has provided his own
images, and the result is a remarkable work of
art. The American book itself (finely printed by
the Meriden Gravure Company on Linweave
Early American paper, bound by Haddon Crafts
men and published by George Braziller) has

been imported by Cory Adams & Mackay Ltd.,
and published by them at 35s.

A fine Stinehour Press book

Calligraphy S Printing in the Sixteenth Century
(Plantin-Moretus Museum, Antwerp, $10.00) is
a reprint of the Dialogue attributed to Christo-
pher Plantin, in French and flemish facsimile
(printed collotype by Van Leer of Amsterdam),
and edited, with English translation and notes, by
Ray Nash, with a foreword by Stanley Morison.
The first edition of this translation was printed
by the Mcrrymount Press in 1940 and has been
long out of print: the present edition, of five
hundred copies, has been beautifully designed by
Roderick Stinehour and printed by the Stine-
hour Press in Vermont, with illustrations printed
photo-litho-orfset by the Meriden Gravure
Company.

19th Century American Wood Type

American Wood Type is a buckram solander box
measuring 23 J in. X i8£ in. x 2$ in., containing
an Introduction and ninety-seven sheets of
American wood types, borders and decorations
produced between 1828 and 1900, and collected,
catalogued and printed by Rob Roy Kelly of
Kansas City, Missouri. Unfortunately only
forty-five sets have been printed and those for
sale, distributed by The Chiswick Book Shop of
New York, are already disposed of. It is to be
hoped that the success of this pilot edition will
lead the author to publish this material, and
more of his Collection, in a more accessible
form. Many of the Letters are of familiar design,
in either Sans or Egyptian categories, but many
also are unfamiliar, exotic, and highly decorative.
The machining of these large sheets, and the
density of the black ink, are all that could be
desired.

BOOKS RECEIVED

(The inclusion of a book in this list does not
preclude us from publishing a review later).

Historic Houses, Castles and Gardens in
Great Britain and Ireland. 1965 Edition:

Foreword by Peter Wilson. London: Index
Publishers (St. Alphage House, Fore Street,
E.C.2). 5s. (direct from publishers 6s. post
paid).

The Desert Kingdoms of Peru: By Victor W.
von Hagen. London : Weidcnfcld & Nicol-
son. 63s. net.

National Trust Guide Books. Polesden
Lacey. 3s. 6d. The Faringdon Collection
Buscot Park. 4s. 6d. The Ascott Collec-
tion, Ascott, Buckinghamshire. 4s. 6d.
Upton House. The Bearsted Collection:
Pictures. 9s. 6d. Upton House. The
Bearsted Collection: Porcelain. 8s.

Art Collecting for Amateurs: By Richard
Seddon. London: Frederick Mullcr Ltd. 21s.
net.

Children's Costume in England 1300-1900:

By Phillis Cunnington and Anne Buck.
London: Adam & Charles Black. 42s. net.

Horses in Japan: By Vivienne Kenrick.
London: J. A. Allen & Co. 25s. net.

Books and The
Bel grave Library

Readers, especially in some of the remoter
parts of the world, may like to know that
any book reviewed on these pages, or
shown under 'Books Received', can be
ordered by post from The Belgrave
Library, 22 Armoury Way, London,
S.W.18

Home Furnishing with Antiques: By F.

Gordon Roe. Illustrations by Frances May-
nard. London: John Baker. 30s. net.

Devils, Monsters and Nightmares. An In-
troduction to the Grotesque and Fan-
tastic in Art: By Howard Daniel. London:
Abelard-Schuman. 55s.

Museums Journal. Volume 64. No. 4.
Quarterly. Hon. Editor: Frank Greenaway,
M.A. London: The Museums Association (87
Charlotte Street, W.i).

A Traveller's History of Greece: By A. R.

Burn. London : Hodder & Stoughton. 45s.
net.

Greek Sculpture: By John Barron. London:
Studio Vista. 1 8s. hardcover. 8s. od. paper-
back.

Early Gothic Illuminated Manuscripts: By
D. H. Turner. Viking Coins of the Dane-
law and of Dublin: By Michael Dolley.
Commonwealth Stamp Design 1840-
1965: By James A. Mackay. Jewellery from
Classical Lands: By Reynolds Higgins.
Etruscan Bronze Utensils: By Sybille
Haynes. Persian Illustrated Manuscripts:
By G. M. Meredith-Owens. London: The
British Museum. 5s. each. 5s. 9d. by post.

Bohemian Glass: Text by L. Uresova. Vic-
toria & Albert Museum. London: H.M.
Stationery Office. 7s. 6d. net.

Waddesdon Manor. The James A. de
Rothschild Bequest to the National Trust.
A Guide to the House and its Contents:

By Svend Eriksen. The National Trust.
Copies from The Administrator, Waddesdon
Manor, Aylesbury, Buckinghamshire.

The International Antiques Year Book.
1965 66: Edited by Philip Wilson. London:
Studio Vista Ltd. 21s.

Eighteenth-century Wedgwood at the
Paine Art Centre. A 28 page catalogue of
one of the largest displays of antique Wedg-
wood ever held in America. Fully illustrated
in black and white. Wisconsin, U.S.A.: Paine
Art Center (Box 1097, Oshkosh). Si.oo.

Majorca Observed: By Robert Graves and
Paul Hogarth. Illustrated with drawings by
Paul Hogarth. London: Cassell & Co. Ltd.
36s. net.

265

The Art Market

Silver. One possible result of the alliance of
Parke-Bernet with Sotheby's may have been the
dispersal in one sale of a fine collection of Eng-
lish silver by the New York salerooms. Among
the items sold, the highest price (and one that is
exceptional by any consideration) was realised
by a set of four Queen Anne, candlesticks with
octagonal baluster stems and bases, $16,500
(height j\ in.,? Lewis Mettayer, 1707, 68 oz. 12
dwt. Parke-Bernet). In London a set of four
< reorge I candlesticks with bases and baluster
stems and sockets elaborately chased with shells,
and flowers and foliage, £6,500 (height 9J in.,
Paul de Lamcrie, 1739, 96 oz. 13 dwt. Christie's).
Of French inspiration but English manufacture
was a pair of candlesticks in the Regence style, with
octagonal baluster stems chased with cameo
busts and formal decoration, £2,300 (height 8£
in., Paul Crespin, 1727, 47 oz., Sotheby's).

Another exceptional price was realised with
the sale of a William III silver-gilt circular charger
on foot, with a gadrooncd rim and bearing a
finely engraved coat-of-arms attributed to
Simon Gribelin, £5,200 (diam. 24 in., Pierre
Harachc, 1700, 187 oz. 19 dwt., Christie's). Who
would have thought that a set of twelve plain
Charles II silver dishes would have made $13,000?
(diam. 9£ in., London 1683, 122 oz. 10 dwt.
Parke-Bernet). In this context it is appropriate to
mention eleven William III three-pronged table-
forks with dog nose ends, £1,250 (length 7 J, in.,
Thomas Allen, 1697, 20 oz. 5 dwt., Christie's).
A single Apostle spoon Irom Henry I 'Ill's time with
a gilt terminal representing St. James the
Greater, £390 (mark a fringed S, 1531, Sothe-
by's).

Silver has been the subject of serious study for
two or three generations now, so it was in some
ways surprising to find an interesting set of
George I communion plate which was apparently
unrecorded before its appearance in the sale-
rooms. Still retaining its original gilding, the set
comprised a chalice (height toj in.) paten (5.!
in.) alms dish (12 in.) salver on foot (9] in.) each

inscribed 'This ( ) for the Communion

Service in the Chapel at Powdcrham Castle'. It
now made £2,900 (Anthony Nelme, 1717,
Sotheby's). A rare piece of provincial silver from
Exeter, a Queen Anne gadrooned oval sugar box,
commanded £3,300 (diam. 6j in., 1705, mark
FV coronet above, 17 oz. 11 dwt., Christie's).
There seems to be some sort of premium on
plainness in the salerooms: a George I plain pear-
shaped shaving mug with .1 flatmoulded cover and
a harp-shaped handle, that its owner had bought
for £166 in the dark days of 1940, now made
£3,400 (height 7! in., William Fawdcry, 1726,
20 oz. 18 dwt. gross, Christie's).

Fine silver tankards from Scandinavia fetch
consistently high prices in the salerooms; a
Norwegian cylindrical tankard and cover, engraved
with strapwork and pendant scrolling foliage,
the thumbpiece modelled as a boy with a basket

of flowers, £1,250 (height 7 in., mark SBM,
Bergen c. 1580, 14 oz. 6 dwt., Christie's). Even
pieces which have no conceivable use apart from
decoration can make prices like £3,900: given
in this case for an early seventeenth-century
German nef with a nautilus shell hull and silver-
gilt mounts including poop-deck house, masts
and sails, and also the support in the form of a
male melusine (height 23 i in., Samuel Lormann
Torgau, c. 1610, Sotheby's).

Finally, an extraordinary 18 carat gold Victor-
ian trophy of a shape akin to a newly pollarded
tree, the bole chased with medallions and bearing
enamelled coats-of-arms. It has an octagonal base
with an enamel inscription: 'The Work of
Alfred Gilbert to represent the Ascot Gold Cup
won by the Duke of Portland's Brown Colt St.
Simon 3 years old in the year of Many Equine
Kings 1884. The Root and Father', £1,900
(height 19.I in., [21 oz. 4 dwt. gross, Christie's).

Works of Art. This is apparently one of the
least fashionable sections of the art market, and
contains many beautiful things whose prices are
not, by modern standards, particularly high. A
late fifteenth-century Florentine terracotta relief of
the Virgin and Child, by no means a great work
of art, but very sensitively modelled, and bearing
traces of the original polychrome, £180 (height
23.I in., Sotheby's). A charming pair of seven-
teenth-century German ivory carvings representing
St. Nicholas and St. Margaret, and originally
intended as knife handles, £95 (height 3.! in.,
Christie's). An Italo-Flemish bronze figure of
I 'cuus, modelled after an Antique original, and
showing the goddess crouching and in the act of
emerging from her bath, £180 (height 14! in.,
late 1 6th century, Sotheby's). Limoges enamels
vary greatly in quality and cost, a fine plaque
painted en grisaille with an elaborate Crucifixion
scene, £600 (height 4^ in., mid-sixteenth cen-
tury, Sotheby's). A touching late fifteenth-
century French carved wood and polychrome figure of
a woman holding a baby in one arm and a
young woman in the other was catalogued
merely as a female saint, but was surely meant to
represent St. Anne, £735 (height 42 in., Chris-
tie's). A small twelfth-century Byzantine gold
cross embellished with a fine whole length
cloisonne enamel figure of the Virgin, with a
Greek inscription 'Mother of God', and flanked
by busts of St. Basil and St. Gregory, also with
inscriptions; said to have been excavated in the
Great Palace at Constantinople, it now sold for
£8,500 (height 2 ^ in., Constantinople, Sothe-
by's).

Pottery and porcelain. The judgment or
whim of whoever bought in 1903 a superb
Mintou pdte-sur-pdte amphora for 1500 guineas
(£1,575) was misplaced it seems, on the evi-
dence of the sum it fetched in a London sale-
room sixty-two years later: £2,250. This price

while on paper representing a profit, in tact,
taking account of the drop in the value of the
pound, the 1965 price is barely a quarter of the
original. The piece in question was considered
the masterpiece of the decorator L. Solon, and
was painted in white slip with a frieze represent-
ing Spartan girls wrestling before Lycurgus
grimly enthroned and flanked by two attendants
(height 34A in., impressed and printed marks,
Sotheby's).

A combination of German porcelain and
French ormolu mounts seems to bring a special
glitter in to the eyes of modern collectors; a pair
of Meissen figures oj birds (cedar waxwings)
modelled by J. J. Kaendler, and embellished with
swirling Louis XV mounts forming three-light
candelabra, £7,560 (height 9J in., Christie's).
English porcelain (like its furniture) does not
have the international appeal of its continental
and oriental counterparts, yet the rare items can
still be quite expensive: a pair of early Chelsea
white tawny owls, £2,500 (height 8J in., triangle '
raised anchor period, Sotheby's). Some birds are
more expensive than others, a very rare pair
of Bow phoenix with outspread wings and
coloured feather markings, £71 (height 4 m.,
Christie's).

A rise in the cost of eating seems to be fore-
shadowed by the prices given for services of
various kinds. On one extreme, a Chamberlain s
Worcester botanical dessert service, each of the
forty pieces painted with a different named
flower, £1,800 (Sotheby's). On the other, a
Mason's ironstone dinner service decorated with
colours in the famillc rose style with flowering
plants on terraces, £168 (97 pieces, Christie's).
A very high price, £680, was given for a rare
Lambeth barber's bowl: its wide rim was in-
scribed IGA 1706, and was decorated with such
things as a comb, brush, and scissors, the centre
with a little scene of a barber and his horse
beside a stable (12J in. Sotheby's).

Modern Copenhagen porcelain is widely collec-
ted, an example from the original fictory
founded in the late eighteenth century (one of a
small collection sold at Christie's) made £504.
It was a group 'The Slumbering Shepherdess'
after an engraving by J. E. Nilson, and showed
her with a young shepherd kneeling behind,
sheep and a dog around (width 7 in., blue wave
mark, base incised A. H. for Andreas Hald, c.
1783). This was one of the most expensive
pieces; by contrast, a bearded Russian peasant,
standing and strumming a balalaika, from the
Moscow factory founded in the eighteenth
century by an Englishman named Gardner,
£36 (height 8} in., impressed mark, 1855-1891,
Sotheby's). These examples are from an un-
trumpeted field of porcelain collecting to which
any who can resist the temptations of French,
German, or even English ware, might well turn
their attention, perhaps to their ultimate profit.
— David Coombs.

266

International
Saleroom

1. Edgar Degas. Repetition de Ballet, 21J x 26J inches. Dollars 410,000 (Parke-Bernet, New York).

2. George I coffee pot, height 9; inches, London, 1721, maker's mark S.W. below a bishop's mitre
(Samuel Wastell?) in three places. ^1,300 (Graves, Son & Pilcher, Hove). 3. Late seventeenth-
century Belgian wine cistern, 44A inches (113 cm.) wide, Brussels, c. 1690. ,£15,000 (Sotheby's).
4. George II tea-kettle, stand, lamp and tray, kettle and stand 12\ inches high, by Paul de Lamerie,
1736 and 1737. ,£6,000 (Christie's).
£1= 2 • 79 Dollars.

267

crnational
eroom

5. Wrought gold, rose and white enamel serpent and egg rotary clock, set with diamonds, by Carl
Faberge, dated 1902, height 9 inches. Dollars 50,000, a world auction record (Parke-Bernet). 6. Sir
Winston Churchill, Hon. R.A. Menaggio, Lake Conw (1945), signed with initials, inscribed and num-
bered on reverse, 19.I 29 inches. £14,000 (Sotheby's), bought by John V. Rohan. This sale, of three
paintings, totalled £46,500 (dollars 130,200.00). 7. The Master of 1518. The Rest on the Flight into
Egypt, panel, 48 ■ 67 inches overall. £4,200 (Christie's). 8. Pieter Brueghel the Elder. A Peasant
Wedding, signed with a horse's skull, panel, 23.J 44?, inches. Ex Northwick Park Collection. £81,900
(Christie's). 9. Pierre Bonnard. La Glace Haute, 49 ■ 32J inches. Bought by the Carnegie Institute,
Pittsburgh, Penna. Dollars 155,000 (Parke-Bernet). 10. Mahogany enclosed chest of drawers with
marble top, by the Stockholm master Gottlieb Iwersson, 1799, 134 cm. long, 88 cm. high. Swedish
Kroner 40,500 (Bukowski, Stockholm). II. Canadian ecuelle, by Pierre Huguet Latour, Montreal,
c. 1775. £780 (Sotheby's). 12. Louis XV small marquetry writing desk, marked F.G. and a trace of a
stamp, possibly B.V.R.B., Om 86 high, Om 71 wide. N.F. 20,000 (Palais Galliera, Paris).
£1 = 2 • 79 Dollars = 1367NF. — 14-41 Swedish Kroner.

f

68

17

13. One of a pair of George II soup-tureens, 11 inches wide, by Paul de Lamerie. £7,000 (Christie's).

14. Bronze circular vessel (Kuei), Chou Dynasty, 15 inches wide, 7| inches high (sold at Sotheby's in
May, 1955, for ,£120). ,£2,700 (Sotheby's). 15. Pewter Charles II Restoration charger, engraved with
the Royal Arms and other Stuart emblems, maker W.P. (probably William Pettiver, London) and
dated 1655, 20] inches diameter, c. 1660. Ex Sutherland-Graeme Collection. £400 (Sotheby's).
16. Gerard David. The Adoration of the Magi, panel, 26\ 28} inches. Ex Northwick Park Collection.
£27,300 (Christie's). 17. From the Hours of the Virgin with Calendar, the Book of Hours of Charles
the Bold, Duke of Burgundy (1433-77) and his wife, Margaret of York. Ex Northwick Park Collec-
tion. £28,000 (Christie's).

270

The American Connoisseur

Colifichets-
Embroideries on paper

MARGARET H. SWAIN

AT Traquair House, in Peebleshire, one of the most beautiful
-and romantic of Border mansions, are preserved four
remarkable embroideries. They are worked in shaded silks on
laid paper, and are double-faced, the satin stitch being taken
through minute holes in the paper. The two larger show slightly
different versions of a vase of flowers standing on a table (No. i).
The other pair depict a Monstrance and Host (No. 2) and a Host
and Chalice respectively, each on an altar beneath a curtained
canopy surmounted by a crown. These are embroidered in silks
and metal thread.

Very little appears to have been written about this curious type
of embroidery. It is mentioned briefly by Symonds and Preece,1
who call it 'colifichet', a word not to be found in connection with
double-faced embroidery in French dictionaries, though it was
applied to collages of silk thread stuck to paper. Their description
had obviously come from de Farcy,- who in turn quotes St.
Aubin's V Art dn Brodeur 1770, a treatise dealing with professional
embroiderers and workroom practice. It is remarkable therefore
that St. Aubin should mention3 that certain religious communi-
ties executed these embroideries on parchment or paper; though
they were so fragile that they could only be mounted betw een
two sheets of glass, as they are at Traquair, or used as bookmarks.
He does not use the word 'colifichet'. However, Monseieneur X
Barbier de Montault clarified4 the use of the word in 1879. In a
box of some 315 specimens which he had acquired from the
family of a nun forced to flee from the Convent of the Visitation
at Loudun at the time of the Revolution, he found a note
referring to them as 'cohfichets'. He declared 'le mot colifichet
n'est pas de moi' and suggested a further meaning should be given
to it as well as that found in the dictionaries: 'un carre de papier
pique a l'aiguille et brode des deux cotes en soie nuancee'.

Some of those in the box were similar to those at Traquair:
vases of flowers on a table, a Monstrance beneath crowned
draperies. In addition, there were sacred portraits including
several of St. Francis de Sales, founder of the Order.

In the absence of any other evidence, it seemed reasonable to
assume that the four embroideries at Traquair had come from a

I. Double-sided embroidery in coloured silks on paper, 13
Reproduced by courtesy of the late F. Maxwell Stuart.

9', inches.

27I

2. Double-sided embroidery of Monstrance and Host, embroidered in
silks on paper with metal thread, i\ X 5^ inches. Traquair House, Peeble-
shire, by courtesy of the late F. Maxwell Stuart.

3. Page from a book, embroidered in silks on parchment, illustrating The
Immaculate Conception. Spanish, r. 1660, 5* • 4{ inches. The Museum of
Fine Arts, Boston (No. 43.322).

French convent in which a member of the family, which was
strongly Jacobite and Catholic, might have become a nun. The
pictures could not have been there prior to 1688, for after the
landing of William III in Britain, a mob from Peebles ransacked
the house, seizing all the religious books and objects, which they
took back to Peebles and burnt. Pictures of such Roman symbols
as the Monstrance and Host could hardly have escaped. A
search among the direct descendants of the 4th Earl of Traquair,
who barely eluded the mob, failed to reveal any member of the
family who had entered the religious life. The two eldest girls
in his family of seventeen children were, however, sent to Paris
in 1 71 3 to repair omissions in their education, and some lively
and affectionate letters to their mother remain at Traquair. They
give vivid glimpses of their life as pensionnaires (for they were
then aged 17 and 18) in a succession of Parisian convents, while
they improved their spelling and their French, their dancing and
particularly their embroidery, and endeavoured on the slenderest
of allowances to keep in touch with the exiled Stuart court,
where they had many friends and relatives.

From the Ursuline convent of St. Jacques5 in 1713, Lady Lucv
Stuart, the elder, wrote to her mother: 'The nuncs is very good

to us, espetialy Mrs. Waldegrave (Arabella, daughter of Henry,
1st Baron Waldegrave and grand-daughter of James II) to whom
we was particularly recommended by her Grace the Duchess of
Pearth ... All the fault I have of this house is, that they teach
nothing but embrothery, pittimetie, and the making of purses,
and d wee will learn any other thing, wee must have
masters . . .''

In May, 1714, Lady Anne wrote: '. . . There is not a monastray
in Paris wherein they teach more kinds of needleworks, which I
hear severals say, that knows very well' and continues '. . . As for
works, we have learned the coly fishes, and to make pursses,
. . . Sister Lucy and I have made two pursses, one for my Lord,
another for your Ladyship: sister Lucy has sent hers allready,
with severall things that Mrs. Waldegrave gave us, which they
do not do in Scotland, which I becg of your Ladyship to accept

There is nothing to prove that the two pairs of 'colifichets' at
Traquair were those worked by the two sisters, but the fact that
there are two of each type makes this very probable. They may
indeed have been among the things 'which they do not do in
Scotland' sent by Sister Arabella Waldegrave, but this seems
unlikely if the girls had already learned the technique. The paper

272

4. Double-sided embroidery in coloured silks on paper, 7j X 5| inches.
The Detroit Institute of Arts (No. 28.117).

of No. 2 shows a typical French watermark of the earlier decades
of the eighteenth century, though it has been impossible to
identify the maker. A search by the late owner failed to reveal a
similar watermark on the paper of thc*girls' letters at Traquair,
which would have been corroborative evidence.

Other embroideries of this type have survived, and one or two
have inscriptions which help to date them. A volume in the
Museum of Fine Arts, Boston, Massachusetts, appears to be the
earliest. It contains portraits of saints (No. 3) worked on parch-
ment with an inscription in Spanish, and has inset a wax wafer,
impressed with the Agnus Dei and Alex. Vll/Pon Max, who was
Pope from 1655 to 1667. A vase of flowers at Detroit Institute of
Arts (No. 4) is very similar in design to those at Traquair. A
small flower sprig at Toronto (belonging to Mrs. Brett) is marked
Saltzburg 1748 Jitli and another flower spray at the Victoria and
Albert Museum is said to be Spanish and marked 1834. These
embroideries were not, therefore, confined to French convents
only. Spamer cites German examples." They are typical convent
work combining great skill with very little outlay on materials.
The nuns at Loudun used the back of an old letter for one, and
made them for sale.

They may have been an exercise in the
meticulous stitchery required for 'peinture a
l'aiguille', the naturalistic flowers in silk em-
broidery on vestments, for which the Ursulincs
were noted. But embroidery in silk, double-
faced, and on paper, all points to a Chinese
origin. Unfortunately no Chinese examples
that can be accurately dated to the seventeenth
or eighteenth centuries survive, except some
beautiful flower sprays embroidered in silk
apparently on paper which were brought back
by Kaempfer from Nagasaki, where the Chinese
had a factory, in 1692, now in the British
Museum. 9 They have been mounted on paper,
so it is impossible to see if they are double sided.
Similar embroideries are to be found at the
Rijksmuseum, Amsterdam. They are without
the impeccable ancestry of those at the British
Museum, and are not in such mint condition,
so that it is possible to see that these are not in
fact reversible.

The Jesuit missionary, Pere d'Entrecolles,
records, however, that the Chinese 'savent
peindre a l'aiguille toutes sortes de fleurs sur des
feuilles de papier; elles ressemblent assez a ces
beaux colifichets qui nous viennent de Bourges,
dont la broderie represente des deux cotes
les memes figures. Nous en prescntames
autrefois a l'empereur C'ang Li, qui nous
montra en meme temps celles qui se font a la
Chine ; elles etaient travailles finement cependant
ll fit de cas des notres, a cause du poli de la
soie, et de la vivacite des couleurs, dont quelques-unes ont bien
plus d'eclat que celles de la Chine'. 1 "

The Jesuits had by then been in China for more than a century ;
and although the Chinese 'colifichets' may have been copied
from Western examples, it seems much more likely that the
nuns based their technique on some such packable 'curiosity'
which the Jesuit fathers sent back 111 such numbers, a collection
of which was seen by Evelyn in London and recorded in his diary
of 22nd June, 1664.

NOTES

1 Symondsand Preece. Needlework through the Ages. London 192S p. 328.

2 de Farcy, L. La Broderie de XI sieclejusqu'a nos jours. Angers 1890 p. 33.

3 St. Aubin. L'Art du Brodeur Paris 1770. (Academic des Sciences) p. 25.

4 X. Barbier de Montault. Les colifichets des Visitandines au XVIII0 siccle. Tonic
VII Bulletin Archeologique de la Societe Archeologique de Tarn et Garonne,
Mantuaban 1879 p. 280.

5 I am indebted to the Provincial of the Ursuline Order in England for identifying
this convent.

6 Published privately in 'The Book of Carlaverock' (1873) Vol II Letter [84,

7 Op. cit. Letter 191 .

8 Spamer A. Das kleine Andachtsbild, Munchen 1933.

9 Sloane MS. no 5252 Folio 67. I am indebted to Mr. Basil Gray for drawing my
attention to these.

10 p£re d'Entrecolles. Lettres edifiants et curieuses. Letter from Pekin 7 Juillet, 1727.

273

I. Early Coffee Service (assembled). In the first quarter of the eighteenth century, it was not unusual for the coffee drinker to assemble his own service
by acquiring reasonably matching vessels from various silversmiths. It is exceptional to find a service, as such, designed and fashioned by a single hand
at that time. In this composite service the milk jug is notably early, dating from 1720. Although its maker is unknown, Augustine Courtauld has been
suggested. The coffee pot, datemarked for 1722, is by John Newton, and the covered sugar bowl of 1728 is by Thomas Mason. All were made in London.

English silver in an American
company museum: 2

CARL CHRISTIAN DAUTERMAN

CARLYLE tells of a dinner 'large, luminous and sumptuous'.
The expression applies as readily to the range and nature of
the silverware that lent its aura to the formal dinners of the pre-
ceding century. This second article on English silver in the
Museum of The Folger Coffee Company directs its emphasis
away from the coffee pots which were the subject of the first, and
towards the magnificent panoply of plate to which they be-
longed.

In today's world, a tea and coffee service is still one of the
accoutrements of gracious entertaining. It generally takes the
form of a rather standardized set of vessels that can be grouped
upon a matching tray. Alas, this 'meagre' assemblage is but a
vestige of the massive array of friendly silver that used to gleam
with hospitality in a day when servants to keep things gleaming
were also more abundant. This irreducible remnant of ancient

gentility is also symptomatic of other cultural and artistic pheno-
mena: it did not spring into existence, like Venus, fully formed;
rather, its components went through a considerable period of
individual development before they evolved into a wedded set.

At first each unit was conceived without artistic regard for any
other. While the earliest coffee pots mimicked the infant teapots,
they shortly went their separate way. Gradually, other vessels
began to supplement them. To judge from surviving examples,
little jugs for milk came first, but not until Queen Anne's time.
The makers were required to present them at the assay office for
testing, at a fee of one penny per vessel. While we call them
cream jugs, the records at the London assay office refer only to
'milk ewers', although there were two distinct types: one for hot,
the other for cold milk. A hot milk jug appeared in a rare tea
service of 1712 at a London auction in July, 1964.

274

2. Above left. Coffee Urn. The oldest object in the collection is this Queen
Anne coffee urn. Fitted with three spouts, it was designed to facilitate the
pouring of coffee or hot water from several positions at the table. The
design is not vastly different from that of the contemporary Driekraantjes
Kannen in which the Dutch served coffee already mixed with milk and
sometimes cinnamon. Two other three-spouted urns in the rococo vein of
George II supplement it in the collection. By Thomas Boulton, Dublin,
1702.

3. Above right. Coffee Urn. Robust and spirited, this urn was designed as a
fitting container for an exotic potion. Three dragon-head spouts, each
operated by a snail-shell handle, thrust out vigorously from its capacious
belly. The vessel itself is embossed with a fountain in the form of a sailing
ship, from the deck of which gushes a great cascade; water plants encase
its bow and stern. The stand, embellished with simulated coral rocks and
shells, is appropriately supported by three grinning dolphins. By James
Shruder, London, 1752.

4. Right. Beehive Coffee Pot. Among the twenty or more examples of
Sheffield plate in the Folger Collection, this beehive coffee pot is one of the
most unusual. It represents an imaginative departure from the neoclassic
urn forms and modified cylinders popular at the opening of the nineteenth
century. By Roberts, Cadman & Co., Sheffield, about 1805.

275

ionuiiiiiiiOJ*

4'

1 jp ™

^1

5. Above left. Tea and Coffee Machine. About 1790 the custom of offering
both tea and coffee at dinner was reinforced by an invention in Sheffield
plate called 'The Complete Tea Equipage'. The central feature was a large
urn that swivelled to supply two smaller urns, one for tea, the other for
coffee. A separate spirit lamp was provided for brewing the coffee.
Sheffield, about 1800-1810.

6. Above right. Sugar Urn. During the eighteenth century, containers for
sugar progressed from the locked boxes of the preceding century to bowls
with loose covers, then to covered urns and finally to open bowls and
baskets. In the early stages of this transition, tankards and porringers were
sometimes pressed into service as substitutes. At the end of the series were
baskets with dipped rims and bail handles. The neoclassical sugar urn with
its sweeping reeded handles and minutely beaded rims was the most
chaste in design of all these forms. This one is by Richard Carter, Daniel
Smith and Robert Sharp, London, 1779.

7. Left. Candelabrum. As an early and successful attempt at rococo revival,
this candelabrum was designed to lend a touch of whimsy to the formal
appointments of the dinner table. Its eagle finial contributes the leaven of
naturalism to the contrived articulation of the shaft and arms. Flickering
candles transform it into a magical tree of C-scrolls, with warmth and
brilliance radiating to the entire ensemble of silver fittings used for enter-
taining. By William Elliott, London, 1819. One of a pair.

276

The situation is not altogether clear concerning the specific
uses for milk and cream. While the English added milk to their
tea during the seventeenth century, as the Dutch did to their
coffee in the early eighteenth, the fact is that no silver milk jug
antedating the reign of Anne has been recorded. Milk jugs
reliably associated with coffee vessels are not found in numbers
until early Georgian times. The oldest of these are rather small,
not over 3^ inches tall, reflecting the modest capacity of the porce-
lain cups.

judging again from surviving pieces, the cream boat, as
differentiated from the milk jug by its broader lip for the thicker
liquid, dates back to about 171 5 or 1720. Jugs for cream appar-
ently came a little later, and were at first modelled after the lowly
stoneware beer jugs of their time. There is a strong probability
that the earliest vessels for cream were used mainly with desserts
such as fruit. The adoption of cream by coffee drinkers seems to
have been rather tentative during the reigns of the first and
second Georges.

Somewhere close to the turn of the century, a bowl for sugar
became an adjunct to the coffee drinker's equipment. Sugar itself
had become a firmly established indulgence even earlier, during
the reign of Charles II. It was used, among other things, to im-
prove the taste of certain wines. Its role in tea drinking is sub-
stantiated by the recipe of Thomas Worlidge, dated 1678: 'Let a
few of these dry leaves stand in a covered Pot two or three
minutes . . . and yield their bitter yet pleasant taste. You may add,
if you please, a little Sugar'. The locked sugar box of the last
quarter of that century was on the wane by the advent of Queen
Anne, when it became usual to store chips of sugar in covered
round bowls known as sugar dishes. During the 1720 s such
bowls became stylistically coordinated with other vessels dedic-
ated to the coffee ritual.

By piecemeal accretion, the combination of a coffee pot, milk
jug and sugar bowl came to be regarded as a coffee service.
Silversmiths who previously had made any of these articles as
unrelated pieces began, during the reign of George I, to fashion
them as matching sets. Yet by today's standard, the service was
not complete without its greatest unifying clement, the tray.

The seventeenth century ancestor of the tray was a 'standing
dish' or tazza, which Thomas Blount's Glossographia of 1661 de-
fined as a 'new-fashioned piece of wrought silver plate, broad and
flat, with a foot underneath, . . . used in giving Beer, or other
liquid thing to save the Carpit (tablecloth) or Cloathcs from
drops'. The vessel was grasped by the foot when lifted for serv-
ing. At about the turn of the century the central foot began to be

8. Silver-gilt Tazze 8A & B detail. The design of this tazza is of a piece
with the ceramic tablewares of the turn of the century. Its centre is filled
with a generously scaled heraldic ornament (in this instance the arms of
Baron Scarsdale), and the border is modelled with a luxuriant grapevine.
The taste of the period is further indicated in the use of allover gilding. By
Digby Scott and Benjamin Smith, London, 1804.

277

K* I » Si j

1 .'1

10. Cake Basket. Baskets such as this rank among the most intricately
pierced objects of the early and mid Georgian periods, enticing the eye
with stencil patterns of light. In their earliest form they were cast to re-
semble woven cane or wicker. Here, ingenious sawing and chiselling have
created a lace-like effect in which countless little 'windows' convert the
transmitted light into pleasing designs. The result is that, empty or filled,
the basket is always attractive. By Samuel Courtauld, London, 1751.

9. Wine Fountain. This opulent vessel for serving wine was an eye-filling
symbol of hospitality, and an eloquent complement to the early Georgian
coffee equipage. A massive vessel, it stands 28 inches high and weighs just
over 370 ounces. It blends the bulkiness of the native style with the innate
fondness for ornament of the Huguenot silversmiths. Here the rich strap-
work and gadroons are supplemented by the engraved arms of Archibald,
1st Earl of Roseberry. By Thomas Farrer, London, 1720.

II. Salver (one of a pair). Sixteen salvers in the collection encompass the
reign of the first three Georges. This one represents the florid manner of
mid-century, and owes much of its effectiveness to the combination of
moulded border and chased inner border. Others illustrate the transition
from square or valanced rims through the piecrust phase of the rococo to
the return to simple round or oval outlines with gadrooned or beaded
borders. By Paul de Lamerie, London, 1748.

278

12. Epergne. A magnificent centrepiece such as this was the piece de resistance among the silver furnishings for the dining table. Its purpose, as suggested
by the French epargner, was to economize by inviting guests to help themselves to exotic delicacies in amounts of their own choosing. Epergnes were of
variable construction, and their pierced decoration showed great virtuosity. Their multiple arms were detachable, permitting two, four, six or eight to
be used. Grouped about a great central basket, they supported dishes and baskets for sauces, fruit and sweetmeats. Some were even fitted with candle
sockets, sugar or spice casters, and boxes. Attributed to Thomas Pitts, London, 1761.

Ill

IF discarded in favour of three or four moulded feet which raised
the bottom an inch or so off the table for convenience in hand-
ling. At this time also, large platter-like dishes were converted
into trays by attaching moulded handles with solder.

The collection of Sir Redvers Buller, V.C., contained a re-
markably complete tea and coffee service in miniature, dating
from about 1730. It comprised an oblong tray, a tea kettle and
teapot, a coffee pot, a pair of covered bowls for storing tea leaves
and a larger one for sugar, a waste bowl, and five cups and saucers
with spoons. While its tray was only large enough to hold the
waste bowl and cups, the large oval trays of the Adam period

left no doubt that this article was regarded as the proper founda-
tion for all the utensils of a combined tea and coffee service.

Just as the various elements of a service enjoyed their separate
developments before becoming consolidated, so too did each of
the other articles of plate that contributed their glamour to the
banquet table. The Museum of The Folger Coffee Company has
gathered a distinguished collection of banquet silver of the kind
that enhanced the milieu of the coffee pot and the coffee service
during the Age of Elegance. These range in scale from a small
salver to a spreading epergne, and in variety from a cake basket
to a candelabrum, as the accompanying illustrations show.

279

Paul Cezanne. Les Baigneurs: Grande planche, 1898. Lithograph l6| 20 , in. Sterling and Francine Clark Art Institute.

The Connoisseur in America

M-L. D'OTRANGE MASTAI

Great Prints at the Clark Institute

THE Clark Institute has put on view for the
summer a special exhibition titled 'Cura-
tor's Choice', that constitutes the first public
showing of a major part of the museum's noted
'Michel' collection of prints. The group in-
cludes thirty-six examples, chosen with fasti-
dious care, and the showing was timed to
coincide with the visit at the Institute of twenty
museum professionals from Europe, Africa, and
South America, as part of the Sixth Annual
Tour sponsored by the American Association of

Museums in co-operation with the U.S. Depart-
ment of State.

The collection was originally acquired by the
Clark Institute (in 1962) from a Chicago
physician, Dr. Herbert L. Michel. In a foreword
to the catalogue, Harold Joachim, Curator of
Prints and Drawings at the Art Institute of
Chicago, furnishes a brief history of the collector
and his goals: 'Dr. Herbert L. Michel, of
Chicago, had devoted hardly more than ten
years to (the collection) and that explains its
comparatively small size, but almost all indivi-
dual pieces arc of a quality and state of preser-

vation that will accelerate the pulse of any true
print connoisseur. Dr. Michel had two great
mentors: one was the print collection of the Art
Institute, which he had studied as thoroughly as
his busy schedule as a physician permitted ; the
other one was Carl O. Schniewind, former
curator of that collection and a great expert in
the field of nineteenth-century French art. From
the start, Dr. Michel was determined never to
acquire a print unless it was as good as, or better
than, the one in the Art Institute, or better still,
if it was lacking in this collection altogether,
which happened on very rare occasions . . .

280

Unfortunate circumstances compelled I )r. Michel
to give up collecting in his chosen field. Scare it}
of material coupled with a phenomenal rise in
prices made it impossible for him to continue in
the grand manner in which he had begun, and
he refused to lower his standards. Thus his
collection stands as a magnificent nucleus around
which a greater collection can eventually be
built with the patience an institution can afford
better than a private individual, providing care is
taken to maintain the established standard of
quality'.

As a result of the collector's discriminating
standards, the collection includes such rarities as
Manet's Le Caje — Premiere Planche, one of his
rarest prints (Guerin knew of only two impres-
sions); Van Gogh's 1.' Homme a la Pipe — Portrait
du Doctenr Cachet — the only etching Van Gogh
ever made: a portrait of the physician who
attended him in his final illness (it is easy to see
what special significance this would hold for the
original collector, who united artistic and
scientific interests, as did Doctor Gachet,
towards whom we must feel so much grateful
sympathy for the selfless efforts that almost
succeeded in saving the sanity and the life of a
tragic genius); Pissarro's Woman Emptying a
Wheelbarrow, described by Mr. Joachim as 'one
of the great prints of Impressionism'; some
woodcuts by Gauguin, early proofs done by the
artist himself with a striking brilliance and
immediacy that distinguish them unerringly
from later prints by Louis Roy and by the
artist's son, Pola. In connection with these, Mr.
Joachim reminds us that 'it has never been com-
pletely explained just how Gauguin printed his
woodblocks in colour. At any rate, he did so in
a highly unorthodox manner which precluded
the possibility of a uniform edition, and the
effects of a darkly glowing luminosity, sugges-
tive of tropical nights, are unique in the history
of print-making. There is nothing comparable
in his paintings'. Similarly, in respect to Picasso's
admirable Le Repas Frugal of 1904, the Clark In-
stitute takes pride in the possession of a brilliant
impression of the first edition, prior to Vollard's
acquisition of the plate and the subsequent ex-
tensive tirage. 'For those who know only the
Vollard edition, this impression must be a revela-
tion. It is only in the early impressions that the
intense tragedy of this moving composition from
Picasso's Blue Period speaks with full force. In
the later edition from the steel-faced plate, the
shadows have lost their depth and consequently,
the highlights which are so dramatically effective
in this composition have vanished. Outstanding
even in such company is Cezanne's Les Baigneurs:
Grande Planche, of 1898, a lithograph printed in
black, bistre, tan and grey-green. Cezanne ex-
ecuted only six prints: three etchings in 1873, and
with the aid of the printer Clot, an equal number
in his later years. Of Les Baigneurs: Grande
Planche, based on the painting of 1875/76 in the
Barnes Foundation, Merion, Pennsylvania, one
hundred impressions were printed.

In addition to these outstanding examples of
French art of the nineteenth and twentieth
century, the Michel Collection also includes
works by the Belgian James Ensor and by the
Norwegian Edvard Munch (who, as Mr.
Joachim notes played a highly significant role

outside the French-speaking world and thus
should imperatively be included 111 a collection
of this kind).

'Americans, Sung and Unsung'

UNDER this intriguing title, the Schweitzer
Gallery, in New York, presented a summer show
devoted to a group of American artists compris-
ing both those painters whose names cither
already are. or else may safely be expected to
become, bywords in the international art world
(Sargent, Cassatt, Chase, Ryder, [nness, Moran,
Davies, Bierstadt, Blakelock, Childc Hassam,
Luks, Boggs, Hawthorne, etc.) — as well as those
who, for some reason or other, in spite of high
competence and pleasing talent, are known and
appreciated only by a more limited circle.

In the first group, there can be little doubt that
Sargent stands shoulder over head above all
others, not excepting even Mary Cassatt,
perhaps basically a finer artist, but with a much
more limited range. Sargent's interests and
achievements, on the contrary, were protean in
scope. If we dislike him .is .1 'social' painter, then
we tacitly confess our ignorance of the serious
and admirable work he did in that line, when-
ever the sitters, as it were, deserved it — and at
times indeed, also when they didn't, if they
chanced to strike the artist's fancy by some un-

expected trait or turn of circumstances. On the
whole, however, Sargent was freest — and there-
fore his truest and best self— in the landscape-
work he did solely to please himself in the course
of his European travels. The impressive study of
Mont Blanc included in the Schweitzer exhibi-
tion (and illustrated here) is an example in point.
Here Sargent has eschewed both picturcsqueness
and technical bravura: his almost total abnega-
tion of either personal or stylistic traits result in a
severely abstract idiom, well suited to the gran-
deur and timelessness of the subject.

In the second category, of those artists who,
generally because of limited output, have
remained 'unsung', Paul Cornoyer and Eugene
Ullman, are notable examples. Cornoyer, a
New York artist, has produced views of New
York City that, were they of Paris instead and
signed by one of the French Impressionists,
would be acclaimed as masterpieces for their
exquisite handling of colour and atmospheric
values — let alone the quaint charm of these
scenes of old New York — while Ullman shows
in a small but sparkling beach scene, titled
Seaside Pleasures, that here too is an artist who
deserves much wider appreciation than has yet
been his share. Such works are both a challenge
and .1 test to the connoisseur who, ideally, should
buy by eye, and not, as the saying goes 'by car' —
i.e., solely the established names.

28l

Miriam Rogers. The Owl. Tumbled pietradura,
height 17 in. Bought by an anonymous private
collector from the Van Diemen Lilienfeld
Galleries, New York.

'Poetry in Stone'

AT the other end of the spectrum as it were, we
find 'poetry in stone': the phrase served as title
for the one-man show of recent works by the
well-known mosaicist, Miriam Rogers, held
earlier this summer at the Van Diemen Lilienfeld

Galleries, Inc., in New York. A title that does
embody a superficial reference to the original
lapidary medium chosen by the artist, but of
which the true meaning is at once more literal
and more esoteric. For this unique mode of
artistic expression, partaking of both painting
and sculpture, is not only poetry achieved by
means of stone, but also, and perhaps chiefly,
poetry found /'/; stone. Lapidary material of
every conceivable sort (ranging all the way from
the 'common' pebble of the sea-shore to semi-
precious gems and pietradura: amethyst, lapis-
lazuli, malachite, onyx, agate, etc.) is combined
indiscriminately but by no means haphazardly
in the execution of a group of objets d'art that
unite colouristic and plastic elements with
results of felicitous originality and charm. In
style, Miss Rogers alternates between stylized
realism — a word taken here to indicate the
possibility of actual recognition, but certainly
at no times of photographic minutia — and more
ambitious themes of frankly abstract conception.
In her recent show, each piece on view was
companioned with a quotation from the works
of the contemporary New England poetess,
Norma Farber. For instance, with the handsome
Owl reproduced here went the evocative line:
'Dark trespass at twilight . . .' This well in
accord with the spiritual, one might say meta-
physical, strain that may be traced in some aspects
ot Miss Rogers's work, while her genuine sym-
pathy with Nature is revealed in her treatment
of animalist themes (Owl, Fish, Bird, Pheasant,
etc. — all far more complex and subtle than the
titles indicate, and that indeed on the whole met
with greatest favour from the critics). In addition
to such basic subjects, there is a series of lyrical
compositions, with telling titles: American
Indian Fantasy, Landscape in Outer Space,
Mysterious Forest, etc. Most interesting of these
perhaps is World Without Swi — a tribute to
C Captain Yves Cousteau. Anyone who has done
scuba diving will testify to the utter failure of
paint, or even photographic film, to do justice
to the colouristic beauty of 'the silent world'.
Miss Rogers, paradoxically, by means of a
seemingly ponderous and inflexible medium has
achieved these elusive effects of luminous fluidity
with swirls of colour held captive and untainted
for eons in the living heart of the stone.

Similarly, she is able to attempt a rendering of
great fantastic Butterfly without fear that the tints
ot fire, azure, and rose ('The Monarch raised its
wing between high sun and me') are ever likely
to fade. For purity and limpidity, such a
'palette' is, understandably, matchless. Even the
old masters, crushing lapis and malachite for their
wondrously brilliant and enduring pigments,
were at least one step removed from the source.
Hut here the artist has made Nature her partner
in the closest possible sense, without any go-
between to dull the priceless spark. She handles
her medium with proper veneration, but also
with jubilation, and the over-all effect is one of
exuberant joy and brightness. It is perhaps
significant that Miss Rogers, although now a
thorough New Englander by adoption was born
in gloriously named San Rafael, in sunny
California: the warmth and splendour of her
native land still glow and throb in her delightful
oeuvre. Yet, the spiritual if not Puritanical

element, is never absent, and the motif of the
Cross is a recurrent one. It is no surprise there-
fore to learn that a large creation on this theme
was recently presented to His Eminence,
Richard Cardinal Cushing, of Boston. One
recalls, in this connection, the deep-rooted pre-
dilection of the mystical Celts for stone for its
own sake, not merely as a vehicle for thoughtlts
was the Hellenistic and Latin way. It is as if this
most naturally religious of people ('anima
naturaliter Christiana") found instinctively and
prophetically — the prehistoric monuments at
Stonehenge, Camac, etc. — in this almost ageless
substance, antedating man in the universe by
countless billions of years, the nearest possible
earthly symbol of the 'Rock of Ages'.

Miriam Rogers has been doing stone mosaics
ever since 1961, when she found her first ins-
piration in the pebbles and shells of her beach in
West Falmouth, on Cape Cod. After a number
of showings on both coasts, her first major
exhibition in this medium in New York took
place in 1963 at the Van Diemen Lilienfeld
Galleries. In private life, Mrs. Julian W. Rogers,
the artist has long been active as Chairman of
'The Friends of Albert Schweitzer' in the U.S.A.
We have already given sufficient reasons for this
sympathy, but it still remains to add that the
mosaicist is also a writer and a musician — she
originally studied for a career as a concert
pianist — and finally a photographer of no mean
merit, whose visits to famed Lambarene have
resulted in interesting portrait studies of the
great philosopher and philanthrope.

Half-century mark for Minneapolis

THE Minneapolis Institute of Arts — one of the
country's great art museums — is celebrating this
year its fiftieth anniversary. In point of fact, the
first germ of this great institution was sown in
1 883, when twenty-five citizens banded together
to form the Society of Fine Arts in that year, but
it was not until 191 1 that the Society's trustees
engaged in plans for a suitably impressive monu-
ment to serve, 'as a repository for the fine arts'.
For this undertaking, funds were raised within
the next two years, and the architects engaged
through competition to carry out the task —
completed in 1915 — were McKim, Mead, and
White famed throughout the land for their
design of the Metropolitan Museum of Art in
New York. The imposing neo-classic edifice
they brought forth in Minneapolis nevertheless
was looked upon merely as a beginning: the
founders 'thought big' and the original plan,
now on view at the Museum in connection with
the anniversary celebration, indicates that the
present structure is a mere fraction of what had
been envisioned : truly a Goliath of a building,
embodying a monster amphitheatre. Nowadays
however it is the contents of a museum rather
than its outer shell we are chiefly concerned with,
and in this respect the Minneapolis Institute of
Arts, for quality and range of its collections,
stands in the very first rank. We need hardly
remind our readers of the countless treasures of
the first order housed within its spacious galleries
— many of these have been mentioned and
illustrated in our pages. Among the highlights of
the painting collection: Titian's magnificent
The Temptation of Christ, once the property of

282

the Regent of France (during the minority of
Louis XV) and subsequently of another great
collector, the English 'amateur', Thomas I lope
(the painting was restored in 1963, after being
withdrawn from exhibition for several years) .
Rubens' admirable sketch for the ceiling of
Whitehall Palace, a masterwork that belonged
in turn to many noted collectors, including Sir
Joshua Reynolds ; the most important of the nine
versions of El Greco's Christ Driving the Money
Changers from the Temple — one of the first El
Grecos to be purchased (in 1926) by an American
museum, and formerly in the possession of the
Duke of Buckingham and of Lord Yarbot ough ;
Rembrandt's Lucretia, a very great and very late
painting by the genial Dutchman, where he
attained a zenith of splendour and pathos; The
Death of Germanicus, by Nicolas Poussin, the
artist's first major commission on which his
fame was established, and that remained in the
possession of the original owners, the Barberini
family, until acquisition by the Institute in 1958;
St. Benedict by Fra Angelico, one part of the high
altar of San Marco in Florence; Degas's cele-
brated portrait of young Mademoiselle Valpin-
9011, Cezanne's great Chestnut Trees at the J as de
Bouffan, once in the Frick Collection in New
York and sold to the Minneapolis Institute in
1948, when the Frick Gallery decided to elimin-
ate post-impressionist paintings so as not unduly
to extend its range; Pissarro's Place du Theatre
Francais, one of the artist's greatest works,
acquired very early (191 8) by the Institute for a
few thousand dollars. The list might be extended
considerably, but space must be reserved for
mention of the famous Charles Jarius Martin
Memorial Collection of tapestries, including the
world-famous Falconers, that once hung in
Hardwick Hall, seat of the Dukes of Devonshire.
The Institute's collections of silver assembled by
the Bell family include a huge wine cistern made
for an English family in 1719 by Paul de
Lamerie, the great Huguenot silversmith, com-
parable only to another cistern of the same type
in the Hermitage Museum — as well as examples
of the graceful and chastely elegant work of the
great American patriot and silversmith, Paul
Revere. Among celebrated assets of the Institute,
one must rank foremost the famous Alfred E.
Pillsbury Memorial Collection of archaic
Chinese tomb bronzes, one of the few of its kind
in the world.

Yet, in paying tribute to the Minneapolis
Institute on this momentous and felicitous
occasion, one could hardly do better perhaps than
to single out the famous Tiber Muse — so-called
because it was found in 1885 when a bridge was
constructed over this river. This masterpiece of
Roman art of the First Century A.D. then was
fated to lay unknown in a private collection,
until its sudden revelation in 1956 when it was
belatedly recognized as an outstanding example
of ancient art, and immediately acquired by the
Institute. If ever thought held sway over matter,
surely the triumph has never been more majesti-
cally and more gracefully commemorated than
in this admirable milestone of Western civiliz-
ation, standing at the very parting of the ways
and predicting both the soaring of Gothic
spirituality and the splendid fulfilment of the
Renaissance.

A muse, replica of a Hellenistic original, Roman 1st century A.D. From the collection of the Min-
neapolis Institute of Arts.

283

L

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Asprey & Co. Ltd. XI

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Bohemian Glass XLIV

Bohler, Julius XL

Broadway Art Gallery XXXVIII

Brompton Galleries XX

Buckingham Antiques XIV

Burgc, C. P. XIV

Chernack, Harry XXXII

Clegg, David Ltd. XIV

Collector's Treasures XXIV

Collet's XVIII

Connoisseur — Next Month IV

Connoisseur — Register XXII

Cox, Ralph XVIII

Crovvther, 1 . & Son Ltd. XXXVII

Delomosne & Son Ltd. X

Dombcy, P. & B. XIV

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Duits Ltd. XL

English Ceramic Circle 263

Florence Fair & Exhibition XL

Francis, Peter XIV

Fredericks, J. A. XVIII

Freeman, I. & Son Ltd. X

Frodsham, Charles & Co. XIV

Garbe, G. XXXII

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Gillingham, P. H.

XXXII

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XLIV

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XXXVIII

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XXXIX

Hammer Galleries

XLVI

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XLVIII

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AL

Humphris, Cyril Ltd.

XXXI

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XXX

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XVII

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Kennedy Galleries

XLIV

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XXIV

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XXIII

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XLV

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XXXIX

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XXXII

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XIII

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Harrogate

XII

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XXXII

nl '11 ' C T T ^ J t • J

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264

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XLI

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XXV

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XLIX

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XIV

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XLVIII

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"V "V "V T 7 TT T

XXXVIII

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L

Walter, William Ltd.

XXV

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XXXIII

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284

A Carlton House writing table of superlative quality in fiddle-back mahogany,
faded to a golden colour and retaining all its original gilt handles and original
locks. Circa 1790. 55£ inches wide.

Formerly the property of the Duke of Leeds from Hornby Castle.

STANLEY J. PRATT

LIMITED

LONDON, W.l
svenor 1747/8